Skeletons Have All the Fun

It isn’t even a ten-minute walk from the Velvet to Rainbow Nosferatu’s club, but his chest still aches. He shakes his head and looks up at his handiwork.

The Scrawling is in the back of the office complex closest to the parking lot. A sign with stylized cursive red font over a black background greets him: complete with a skeleton’s hand drawing a hanged stickman on a white skull with a quill. Rainbow Nosferatu spares a glance at the makeshift bike-rack below the steps of the entrance: knowing he will be back for his ride later as he enters his club.

Despite his name, Rainbow Nosferatu finds himself bathed in the familiar dark red light of the remaining candles in their glasses on the tables closest to the door. A large projector screen dominates the dark red club while slide-shows scroll through a variety of images up overhead. He waves at some of the staff as they continue cleaning up for the night. Chairs and tables scrape across the floor without the music that has no doubt stopped for the night. But this doesn’t bother Rainbow Nosferatu. Instead, he closes his eyes for a few moments and basks in the warmth of the place he made with his few friends, very little money and a great deal of love.

The feeling of sunflowers seems to approach him from behind and he actually smiles a bit–for real this time–as he opens his eyes and watches the slide on the screen transition into another page from a public domain 1950s horror comic.

“You know,” he says, looking up at a scene of skeletons rising up from their graves to embrace a screaming blonde-haired woman in a white bridal gown, “Skeletons used to be so cool in the fifties.”

The sense of sunflowers seemed to laugh with its voice, “Probably because some people needed a real proper boning.”

Rainbow Nosferatu shakes his head, “They weren’t just about the sex. No, there was the vengeance too. Artists in those days could only be so … graphic,” he turns to her as she groans, “What? You just did that earlier Marigold. It’s true though. Underneath all that flesh, we just want to possess each other: out of anger and out of passion. Now it’s all about the zombies: eating flesh indiscriminately and not caring about where your meal has been, or what it even tastes like.”

“I don’t know boss,” Marigold grins up at him through twisted red and yellow dreadlocks, “Flesh-eating has at least a few uses I can think of.”

“True,” Rainbow Nosferatu can’t help but smirk at this game of innuendo, “But a skeleton still has their personality. Even without a bit of flesh on them, they still remember who or what wronged them. They remember what life was like when they had it. Revenge or lust, they keep their eye-socket on the prize and they take what they want. They are the bare essence of want.”

“Ah, so you mean to say ‘kids these days,’ huh Rain?” she wraps an arm around his shoulder and hugs him.

“Yeah, those gosh-darned zombie goth kids these days,” he says ruefully and moves to lean his head against hers in order to return her brief half-hug, “Were there many of them since I was last here?”

Marigold smoothes out the ivory dress on her lithe frame, “Nah boss. A few writer-types. One girl asked for something at the juice-bar and I made it for her. There was a dancer or two. Some Tarot-readers. Oh, and some of the Ancients dropped by and asked about you. Not much else though.”

Rainbow Nosferatu sees as much. The juice stall is closed for the night. Marigold made excellent drinks among hostessing and ticket-collecting. Despite what he told Jake earlier about checking on drinking in his club–which was mostly to get away from him anyway–he couldn’t actually afford a liquor license: yet another thing Linda would remind him of …

“Don’t come back until you have your shit together.”

Rainbow Nosferatu suddenly feels tired, “I guess the All-Ages Nights are going the way of the skeletons too,” he looks sadly around the place, his place, “Has Linda …”

“No,” Marigold shakes her head, “I’m sorry, boss, but I didn’t see her come in or down from the loft,” she puts a hand on his shoulder, “Is everything ok Rain?”

He looks at her for a few moments and senses her warmth and concern. He knows that sometimes she can see right through him: through each other without the details, “Is my aura really that blue?”

“Yeah, well,” she shrugs again, “Let me put it to you this way: your aura might as well be singing ‘I hurt myself today’ in Texican drawl.”

“Heh,” he gives her that, knowing that she is trying to make him laugh and feel a bit better, “I thought … Linda and I thought to ourselves: ‘Wouldn’t it be cool to make a Club for All-Ages where you can sit and write, or dance to Dead Can Dance or Sisters of Mercy while reading projected slides of old horror comics and poetry on the screen instead of watching muted TV shows or music videos?’ But we weren’t prepared for the costs. Now things are changing and I guess, in the end, that’s the way things go.”

“I still think it’s a really awesome idea, Rain,” she squeezes his hand.

“Yeah. Me too,” Rainbow Nosferatu sighs, “we had some good times here. But it’s only a matter of time now … before we go the way of Sanctuary.”

“We lasted a while, Rain.”

“A few months now,” he nods, “I guess we have one more at best. Maybe I can get away with using some epic video game boss battle sound-track for the Last Nights!” he somehow manages to wink against his crushing sadness.

“We’ll have a Gothic Tetris face-off,” Marigold says, “with Dark Soundtracks and Fin de Siecle Tequila Shots!”

“Sounds like a date!” Rainbow Nosferatu hears himself say and inwardly winces at the choice of words, “Well, I’m heading off now. See you next week Marigold.”

“See you. Oh, boss, I almost forgot something.”

Rainbow Nosferatu blinks. He can see the sunflower glow around Marigold become subdued with blue, “What is it Marigold?”

She reaches into her bra and takes out a small envelope, “It’s from … Lily.”

Rainbow Nosferatu feels his hands turn clammy.

“Oh,” he says simply, dumbly, staring at the letter in Marigold’s hand, “I’d been trying to get in touch with her for a while now …”

“I know,” Marigold’s eyes look at him with sympathy, “I didn’t open–”

He waves her off as he takes the letter, “Oh I know that, Mari. I appreciate you holding this for me.”

He doesn’t tell her that he’d been sending emails, texts and voice messages to Lily for a month or so now: every once and a while … trying to be unobtrusive. Trying not to be needy … and slowly going crazy inside from not hearing from her. Dark-haired, pallid, thin slight Lily with her love of Neil Gaiman’s Death and the way she listened to his stories whenever they hung out here at The Scrawling. She’d met Linda and they seemed to have gotten along. He and her would hold hands whenever she made it. That was all they really did for a month. It had made him happy to hold that slight pale hand in his own that made his seem so awkward and gangly by comparison.

He remembered her email quite a few nights ago: finally telling him she would get in contact with him soon. He’d almost forgotten that email. Almost.

“You’d never turn pussy down,” he remembers Linda screaming at him during that fight, “In fact, you pride yourself on it.”

He turns away and opens the letter. It is a simple piece of paper with three words written in beautiful cursive writing.

Stop writing me.

Rainbow Nosferatu blinks. Stop. Writing. Me. Each word hits him. Each word is like a punch to the stomach. Three punches to the stomach. Three times. He swallows.

“Rain?”

Marigold walks in front of him and takes the letter. She looks at it. Her subdued aura becomes a burning one of vivid reds, blues and violets, “Oh Rain, I’m …”

“I-it’s ok, Marigold,” he says, quietly, “I guess … in the end, she’s just a kid. She …”

“She’s twenty years old, Rain,” Marigold looks as angry as she feels to him, “She was adult enough to get into it. She knew what she was doing. I did back in the day. And this … this is just totally uncool! I mean … oh Rain, I’m sorry.”

She hugs him again. It takes him a few moments, but he returns her embrace, “It’s okay, Mari,” he gently pushes her away, “I’m … disappointed, I won’t lie. But with Linda and everything, it’s … just as well now. Wow. I’m really not having a good month,” he shakes his head and finds himself tucking the piece of paper into his pants pocket, “Gosh darn zombie goth kids these days I guess,” he smiles weakly, “I need to go.”

“Are you sure? Rain …”

He looks at her: Marigold the bartender, waitress, ticket-collector, dancer, Goth, one of the few that believed sunflowers were happy accidents of God, who knew what obscure movie that paraphrase came from, one of his few friends who he knows that right now–anytime–but especially right now would do anything for him. Anything. He breaks that half-thought and he’s glad his face is painted white enough to cover the red that threatens it.

“I need some time to myself right now. Thank you. Love you, Mari. See you later,” he hugs her one more time and leaves.

He wonders, as he clears the door and down the stairs, what people might think of the streaks of black mascara and white make-up rolling down his face. Maybe they would think he’s some dumb punk kid. Or maybe a clown. That was it. Maybe they’d think he was the Great Pagliacci.

Pagliacci: the Gothic Clown.

In the World of Neil

I believe there is a particular place where all things coexist.

It is a place called the Universe: where ideas dreamt up by humankind become gods and need to feed off of our belief in order to have any power whatsoever. At the same time, there are other–older beings–that couldn’t care less about us (or more) and embody the cosmological constants and the very essence of what sentience truly is.

As strange as it all is if it only ended there it would be so simple: because there are other things too. There is the Presence, the Silver City, angels, demons and Lucifer. There are cities Underground and one great Faerie Market that never seems to die out as many claim nor want to stay behind a Wall. And sometimes things happen one way and then another: with everything dependent on memory, the manoeuvring of creepy puppets and the plurality of apocalypses–of different revelations–right next to one another.

When people are not meeting a young girl with a big dog and a balloon, they encounter ladies that can open doors, boys raised by ghosts that dance the Macabray, fleas and Other Mothers, young men learning magic, immortals of various kinds, pitiable monsters, worlds existing in people, places dwelling as people, and three women–always three women–that are alternatively kind, cruel and wise as the story takes them.

And the people–the regular people–are so much stranger. They make you realize there are no normal people. Not really. What’s more is that you also realize that history–that reality and the everyday life–has never been wholly real in the way that you understood it and all of this becomes a place where the mythological becomes normal and the seemingly mundane becomes utterly terrifying.

I’ve studied this place a long time, you understand and I always suspected but never confirmed–inside of myself–that they were all layers of the same multiverse: that they all fit together and the pieces click into place so immaculately well.

Until now.

Of course, they might not be and their creator reserves his right on the final judgment in the matter. But as a wise girl once said to the shadow of what America could have been–and could yet be–I believe. I believe in multiplicity, the levels, the nuances and, perhaps, after reading this newest book a few days ago, I believe in two more things: the World of Neil … and a nice cup of tea in the good company of some Hempstock women.

Synchronizations

Not Safe for Work and Possible Trigger Warnings. Reader’s Discretion is advised.

My hand circles around the exposed circuitry gaping from out of the back of her head. And she shudders. I stop as she huddles into me. Her grip is strong and I know, for a fact, that she is holding back as much as I am. Otherwise, my forearm would become instant pulp.

I rest my chin on the top of her head and cup the hole in back of it. Her body is warm and firm against my chest. I rock her back and forth: partly to soothe her into the symmetrical rhythms that her system requires in order to go into a diagnostic mode and mostly to edge myself back from my own mounting fury.

Those bastards … those xenophobic pro-organic fucks … I feel her hand take mine and place it back over the circuits in her cortex. She can sense my heart-beat and blood-pressure and she knows I’m getting angry.

Rage is replaced by shame. This isn’t about me. She was the one they found. She was the one that got assaulted. They battered her, ripped her clothes off, tore off her skin … It doesn’t matter that her flesh grew in a vat, that its nerve-endings had been artificially developed, or that it had been attached to a painstakingly crafted tiny micro-fibre skeleton in an incubator.

She grew long before I met her: developing thoughts and feelings off of the potential built into her cognitive software. She chose that dress she wore that day for herself: that same checkered dress they destroyed coming back from her job at the daycare: taking care of organic and bioloid children alike…

And I wasn’t there.

She takes my fingertips and lightly traces them through her synaptic wires. My bitterness and the guilt fade. We talked about this. I had seen her without her skin before. She showed me how to grow it and reapply to her if she ever couldn’t do it fully for her. Which, for a while, she couldn’t.

That is what led to this moment. I helped her over these past few painful months: regrowing her skin and developing its nerve-fibres. I reattached her arm and tried to turn off her pain-receptors just long enough to finish the job, but I couldn’t fully succeed. Those receptors were placed and cultivated there for a reason: to let her know where and what is wrong with her body. She whimpered as I held her: as she tried not to crush me in her arms.

Underneath her warm skin is a fine mesh of reflective quicksilver, dark-matter velvet and glittering lights: a small internal universe of stars. That first time she revealed this to me and let me touch this part of her, I remember the smoothness of her metal form and how cool it was against my own skin. At the same time, I know it is incredibly strong, but also very pliant. Sometimes we’ve made love when she is in this form and, for some time now, we’ve even been talking about circuit-play.

It is more delicate than hardware manipulation. It is literally an exploration into her head: into her very essence. And months after she was attacked, she does not want to replace the back of her head just yet.

Her other hand, strong enough to crush steel, strokes my cheek as other fingers direct mine into soothing her. It is like being taught how to play a musical instrument and it is definitely a simile that makes sense. Music operates on a similar form of logic from which mathematics is also based. It is that same sense of precision, symmetry and immaculate patterning that comforts her.

I feel her tense and relax against me as her fingers slowly drift away from mine. I follow the pattern of the wire-nerves and circuits in the cool part of her even as her warmth seeps pleasantly into my bones.

I wonder if it will feel different one day. She knows I have the resources to transfer my synapses into a newer form. The truth is I’m tired of the fatigue in this organic form: of the bowel movements and the need to sleep, the hunger and the thirst, and the mess I make by simply existing in flesh every single day. It’s an imperfect mechanism: grown by Nature from a zygote and generated by a series of genetic mutations. Whatever they say about her and however horrible the intended origins of many bioloids are, she at least is not the result of an accident.

Even as I touch her now, I know I could transcend this state at any time. And I look at her in my arms and the fact of the matter is that she will never age. Barring disgusting assaults like nine months ago, her skin and gel-organs will continue to maintain themselves. And she is more than her programming. She surpassed it long ago. She can–and will become–so much more as the years go by, as the centuries pass: unhindered by erosion and time. She is no Helen O’Loy. Without the procedure, I am going to get older and messier and, back when we first dated, I was afraid she would leave me one day.

But she wants me to wait. She tried to explain it to me. She can’t grow old, but I can. And she wants to see that happen. She thinks that I should have that experience and does not want to take that from me. She doesn’t consider my organic existence an imperfection or an aberration.

She sees me as something unique. She teases me and smiles in that way she does that she tells me that she insists on my downloads–my “illegal downloads”–until her “disk-space” is full. It almost makes up for the fact that she will inevitably clean up my messes as I age–to the point where I can’t anymore–but she does not mind this, or so she says.

She sees me as the result of a random set of genetic permutations creating the unique pheromones and body structure–shaped by a particular set of environmental circumstances–to form the details that make up my being. She tells me that neither of us are accidents. As she understands it, I am one of the universe’s gradations made skin and that just as we came from the mind of the universe; her kind came from the same All-mind as us. It’s almost incomprehensible to think that I come from the same beings that would destroy her as an object.

We will age together, she tells me, for a time. We will have a child together and then when that part of our life ends, we will start an entirely new existence: with laughter, friends, lovers and eternal exploration.

Before, as I helped her through the painful act of reconstruction, she told me that in Japanese culture, when an urn is broken and pieced back together, gold is often poured into the cracks: to accept what has happened and to emboss the beauty of its new imperfections.

She leaves her scarring as it is: not wanting me to heal it so that she can paint the cracks in her skin with golden dye so that she can walk around again and display herself–and who she is-with pride.

So now I hold her against me as I listen to the soothing hum of her core: just as she listens to the sound of my heartbeat. That is another reason she does not want me to undergo the process just yet. She likes the sound and feel of my heart. As of this moment, no one has quite replicated the rhythm of the human heart: or so she tells me.

When I ask her why she likes it, she tells me that it reminds her of a steady binary, or the universe speaking to her in old Morse-code through someone that she loves.

As for me, right now, with my healing woman in my arms I envelop myself into the deep thrum of her own heart against mine. By merely being here, her existence sings. Percussion melds into melody and after a while, I don’t know where one sound ends and the other begins.

Robot

Photo Credit: Chris Cunningham working on All is Full of Love

To Serve

Not Safe for Work and Possible Trigger Warnings. Reader’s Discretion is advised.

We find her in the Gutters.

It’s like a bad corporate dystopian film noir: the kind they used to scare us with right in the childhood. My partner’s still gawking on this … travesty in front of us as I’m already at her side.

I can tell that it’s bad. Not terminal, but bad. She’s in a plastered pink latex dress and she’s soaked. Why is it always raining in these fucking stories that are always real life? I can tell you right off that her leg is not supposed to be bending that way.

But her head. Goddammit all, they did a number on her face: it’s all tangled dark hair, blood, and metal. Either they mashed her with a chunk of stainless steel or she’s a girl that really likes her metal …

“Damn,” my partner says, kneeling beside me on the wet concrete, “Is she even–”

There’s this low whine. At first, I think it’s interference. The advert-murals in the Gutters never really work all that great to begin with and with all the hack-jobs and shattered plasta-glass around it’s probably a miracle that they give us this much light.

It takes only a moment to realize that the sound’s coming from her. My partner’s better at following orders than dealing with people. I make my decision quick.

“You,” I tell my partner, “check around for some ID. I’ll talk to her. Go.”

I’m not paying attention to him anymore. I’m placing her wrist in my hand to get a feel for her pulse, “Miss? Miss, stay awake please. Miss, I need you to tell me what happened here?”

She needs to stay conscious. I see one blue sliver open on the most battered part of her face. Its unfocused and muddled with fear. I take her hand and I squeeze it.

“Hey,” my partner calls out, “I found a purse. Credits are still there. Damned if I know why they didn’t take them. Says she’s a waitress nearby on the Docks.”

“That’s not far from the Gutters,” I mutter to myself and her: to keep her alert.

I want to ask her what in the hell she was thinking being down in the Gutters at night. Not even the cops come down here at this time: not if they knew what was good for them. I want to shout at her, but it’s not her fault. She doesn’t deserve this. And looking at the injuries and knowing no one took her credit chips, this looks very fucking personal.

And that’s enough for me.

“Call it in,” I tell my partner, still trying to see if she’s breathing or not, “Tell the Shelter we need some back-up and a forensic. And a Talker,” I add, “definitely a Talker.”

My partner groans, “A forensic’s probably not gonna help. Cheapest scanners in the world, man. Those fuckers are probably squeaky-clean and long gone by now.”

“Tell them to bring it anyway,” I still can’t find her pulse and the ground seems to be thrumming through me. There’s probably a generator nearby.

“Man, we’re just a Volunteer outfit. Neighbourhood Eye. All that, you know? That’s for the police to–”

“The only thing the City’s given us Gutter-trash is glow-in-the-dark advert night-lights,” I’m beginning to remember that I’m pissed off and that my partner’s a bit of an asshole, “The Guilds will pay for our lights, but not our security problems. Scan her ID number through if you need something useful to do.”

I’m not surprised he didn’t do that. He doesn’t think too hard. Good for the gun in his pocket–and not the non-existent one he tells the ladies about–but definitely not for the details. But if she’s not from around here, she could be in another district and out of jurisdiction. The police there might be a better help to her if we scan her number. Maybe she didn’t have time to tap that ID before …

“Um, man?”

I see it before he does. She is moaning quietly again and shifting her head.

“Miss … don’t move.. We’re … we’re getting help for you …”

“Man, the number says–”

“I know what the fucking number says, you dumb fuck!” I’m snarling at him and looking at the side of her face she just showed me, “Please, just shut up. Shut–the fuck–up for a bit.”

I’m staring at a mass of burning circuits and mangled wires underneath tatters of skin. I thought it was just the blood that made that side of her head glitter like that. Good old Heinlein would have called her an Artifact. I call this whole situation a piece of work.

I see a dark stream of waste flowing out of her mini-skirt. It smells like liquid rubber and she’s whimpering. When she speaks, her voice is all static-filled pain.

“Please …” her voice reverbs, and I wonder if it’s because her cords are crushed or if it’s that half the skin on her face is gone, “No … I won’t. I won’t …”

“Guy,” my partner’s pulling at my shoulder, “She’s a Number. Bought herself out of the Slippery Diner. Not our problem.”

“Did you call up the Shelter?” I realize the thrumming beneath me is the hum of her cardiac generator flowing power into her body. I’m taking off my jacket and putting it over her body.

“Yeah, but we don’t have time for this. She’s just a …”

“Just a what?” I’m not looking at him because I know I’m going to punch him if I look at him, “A Skin-Job? Is that it? Tell me, man, do you think you’d still look pretty if it was you without your skin?”

He says nothing. His cowardice saves him from a decking.

“Call them the fuck up again,” I say in a much quieter voice, “Tell them to bring one of those Artificers. I know we have them. So call. Now.”

He shrugs. I stare him down and he walks off. It’s almost a good thing we’re in the Gutters. There are none of them damn Registration Officers here to really cause trouble. Number-watching, my ass. Those stormtroopers make my partner look like freaking Archie Bunker.

“H-help …”

She’s looking up at me. Her one blue eye is pleading. My hand is still in hers. She’s cold to the touch. I know enough to figure that it’s a circulation problem. She might have been warm any other time but this. I grip her hand again.

“Help’s on the way, miss,” I tell her, “You’re a waitress at the Slippery?”

She makes a sound almost like a yes.

“I’ve not been there a while now,” I see the lights of the crew coming in the dark, “best sushi rolls ever.”

I might have even seen her there. She could’ve served me and I would never know it. She looked like she was somewhere else: hoping for a night on the town. I might never know what happened. And no one ever would if we hadn’t got here. She would have been just another lost Number in the Gutter trash.

“Don’t worry, miss. We’re part of the Gutter Shelter. We don’t leave anyone behind. Anyone.”

She looks up at me. The gears in the side of her face make a whirring sound. The flesh part of her face that’s not fucked up is scrunching. The metal part of her is shifting. A tear comes out of her one blue eye. I realize she’s trying to smile, or cry.

It’s breaking my fucking heart.

I realize, later, when they’ve taken her away and my fingers hurt that she’d actually been gripping my hand too.

Healing Potions

It began like every one of our quests.

We were fighting a marauding tribe of orcs and, naturally, I was the first person to be brought down. It was just like clockwork–the clockwork that I, as an artificer never truly mastered–in that my companions charged into the fore and I was left on the ground with a gash on my side and a deep cut across the flesh of the tendons of my left hand.

Perhaps I was too used to it by now. The captain of the current company I joined at least had the decency to cut down the orc that slashed into me as the repeater crossbow in my hands jammed: as it repeatedly did. I remember the orc lying there: its purple-tattooed green face glaring sightlessly at a man that killed it without a moment’s glance and ignoring my semi-conscious form lying beside it forever.

My fingers were shaking as I reached for my pouch … with my healing potions. Most of my pay often went into buying those concoctions. Sometimes I had enough coin to purchase some raw ingredients, but the cost of the equipment and the process of making them took ages and even more resources to upkeep.

It was amazing that such mundane details were flitting through my mind at the time as I struggled to take out a flask of potion: along with thoughts of how my current commander, like many others before him, wouldn’t even let the company healer touch me: as a pettiness for my fumbling in the heat of battle.

So I had to keep stocked up on healing potions and my own food or I wouldn’t have survived even half as long as I already had. My hands were so numb and cold as I forced the potion to my lips. I could feel the familiar burning warmth of the healing fluid churning down my throat, heightening my sense of my surroundings followed by a deep coughing fit coming on.

I feel this so many times. It is a pure, cleansing fire in my blood. And then I finally coughed. It was a long racking cough that splattered out some of the potion I was trying to keep down. I couldn’t even swallow a healing potion right, it seemed.

But then my self-disgust was interrupted something else. To this day, I am not sure how I even noticed it. Perhaps it was the heightened state of regeneration that I always felt when I drink a healing potion: a thing that temporarily augmented my eye sight, or cleared my brains enough to focus on minutiae.

Half of the liquid I spewed out had splattered on the orc: or, more specifically, on its severed arm. I hadn’t noticed that my commander had amputated my attacker before killing it. As far as impromptu battle amputations went, it was fairly utilitarian: in that it wasn’t a clean cut. I saw the ripped pieces of ligament and flesh on the cut part of the limb. It was an ugly and jagged hack-job: one that I was glad none of my limbs had experienced as of yet.

But I didn’t expect what happened next.

Allow me to clarify, if you will pardon the pun: for I had not, in fact, drunk a Potion of Clarity. My powers, such as they were then, did not come back to me: especially since I hadn’t even had time to use any of them before being cut down. That was why I could see so clear-headedly at that moment. Maybe I had one too many healing potions over the years and I’d built up a tolerance. Certainly, the little tinctures I drink every day now help me deal with the headaches. To be honest, I’m actually surprised that I never noticed what I saw sooner.

The mutilated flesh and sinew on the ragged end of the orc limb was slowly, and very gradually, knitting itself back together. I just … looked at it. Maybe there was a time where I might have thought it a trick of the eye or a hallucination from trauma. I might have even considered that the dead creature could have had some troll blood in him. But it was like watching fleshly grass growing back, creeping back, at a steady and accelerated rate. I remember not knowing what to think, but being utterly fascinated by it. Yet it didn’t last long. Then.

It must have been only a few seconds at least. Now, this in itself might have–again–proved nothing to me: just some bizarre residual effect of a substance that perhaps all apprentice healers and alchemists may have learned about in their respective guilds and academies, or at the knees of their masters. But then…

It twitched.

At the time, I still had doubts. I knew enough of healer-craft to know that there was enough blood and energy in a limb–if freshly cut–to still have a brief semblance of life. As it was, I didn’t even know how long ago the commander had cut it off: with everything still feeling like it was in this heavy kind of eternal present.

I immediately started looking around at the corpses now littering the field: afraid that the orcs were being led by a dark priest or a necromancer. But none of the other bodies stirred. Just the arm. And when I looked back, it had stopped moving.

But that sight never left me. I looked down at the empty flask in my hand, at the limb, and back again. And I experienced more … clarity.

I quit that adventuring company with little money to spare, but I joined many others. The transition was not as difficult as some might believe. As an artificer, you learn that there are mechanisms that function well and smoothly due to the interconnection of different parts. I kept up my skills in making devices and imbuing power into artifacts, but my main focus had shifted to surround the art of alchemy.

I stayed out of combat: save when my company was often finished with the initial assaults. Eventually, I saved up enough coin to study under an alchemical master or two. Though my skills as an artificer were poor in battle, they were invaluable in maintaining the equipment of my teachers, and I could effort to continue my studies with them.

I also began to observe healers: not the ones that solely drew their power from the gods, but the ones that practised surgery and medicine. Selling them custom-made equipment and supplies–which I could make now as a working apprentice in the Guild of Alchemists– also made them a lot more forthcoming.

I’d never been so focused or so motivated in my life. I’ve also always been a solitary man and thus had no other obligations aside from my livelihood … and my other work.

So, as I said, healing potions are very expensive. It did help, however, that I was not getting injured as often and so when I did buy them–or make them–I could use them for other matters. Sometimes I missed the bitter medicinal tang on my tongue and that uniquely therapeutic burn in the pit of my stomach, but that had been replaced with another form of simmering passion.

I still had my tinctures for my usual body aches and now actual Potions of Clarity to help me with my Great Work.

I realized it was all about the amount of dosage. And on the adventuring assignments that I still undertook on behalf of my tutors, my comrades made enough corpses for my initial studies. My companies didn’t suffer for it either. I sometimes functioned as the healer of our group when there were no priests or paladins among our numbers. And everyone knows that the healer is a vital part of an adventurer group. You can literally hold the power of life or death over your entire group as a healer. Not that this had ever really occurred to me.

I had far loftier goals.

I eventually learned how to make a severed limb move by itself. I definitely began to see evidence of twitching and movement. Most of these limbs were taken from orcs and goblins: generally beings with small cranial capacity. But I did have occasion to deal with some human matter even then. And my preservatives helped make for good flesh-grafting material.

But the real work began after I retired from direct adventuring and my apprenticeships to invest in a potions cart. It helped that I joined the Alchemist Guild as a full member and became licensed to carry–and examine–various alchemical substances. I travelled through many towns until I settled down to make my Potions Shop. I realized after a time that the limbs I reanimated could only function for so long before succumbing to inevitable decay without some kind of more self-contained environment.

So I crafted and invested in vats and various apparatus. I learned how to make Regeneration Potions: essentially more augmented versions of my favourite healing concoctions. They are hard and even dangerous substances to make. Even the Guild only reluctantly makes them available to the public, with more of them being sold bootleg by rogue alchemists and I learned that healing potions are actually a scaled-down version of the substance sold at exorbitant prices in order to make a profit and prevent said danger.

I began to understand what made the Guild so afraid. I’ve always found it easier to work with orc parts. Some say it was because once, long ago, a powerful wizard made them: crafting their flesh from something else altogether. It was an incredibly vague myth and very few outside arcane circles even knew about it beyond just those simple words. But I know that I began to wonder.

Most beings believe that we were all inorganic matter before the gods gave us breath. By comparison, I was doing something far more crude. It is like trying to construct an artifact of an older era by taking it apart and attempting to reverse-engineer it. But the problem was that I was still thinking like a traditional artificer.

Finding components–and yes sometimes I still use an artificer’s terminology–was not difficult. Although I wasn’t on campaigns or battlefields anymore, my shop was in a city. In this world, brawlers and warriors of different races die all the time and their bodies are usually thrown out into those garbage pits known as public graves anyways.

Yet before I began using human material, I had to fine-tune it.

Once, I was curious about something. I knew that there are some plants in the world whose cuttings could grow roots in the right substance and become whole new plants. I began to wonder what would happen if I put even a tincture of blood or tissue into one of my vats of Regeneration Potion.

The plant analogy was an apt one, and not merely because of the cuttings. Certainly limbs were easier to use but the … things that resulted from them are limited in scope. As their brains develop, they are more used to obeying commands drummed into them than making decisions of their own. Most of these were like animals that barely lasted a day in any case. No, the best element about the flora analogy is that in every drop of blood and piece of flesh there are the seeds for something … more.

This took too much time, however, and most of these experiments happened only on a limited basis. It didn’t take much to fake my own death and destroy my old shop. People were beginning to notice that I wasn’t aging like they were and sometimes my creations became more … vocal: even in the basement of my Shop.

I managed to take all of my coin and buy new resources. There is an old tower on the farthest island off the main continent that suits my privacy and that of my creations well. I have enough vats of potion to keep us going for quite some time.

Nowadays I am less interested in cobbling together old creatures and things derived from said beings, and far more intrigued by other prospects. It is said that a long time ago the gods forged us from cold clay and stone. It has been some centuries since I placed those imbued drops into my Generation Vats. I watch marrow grow from nothing into bone with coils of nerves and sinew creeping along … and the first layers of flesh will spread over them soon …

And so I continue to drink my own delicious, home-brewed healing potions, curious to see how what comes from them will live in the land that I give them.

The Storyteller

An old story and an appropriate one given what I have been reading lately. You can tell what some of it was inspired by and I hope it can be appreciated for what it is. Enjoy.

He was the Oracle of Stories.

I didn’t know what was meant by that … at first. The man, if one could venture to even call him a man anymore, sat in a dark corner of a great library. Yet for all the library’s magnificence, the Oracle had chosen long ago to be placed in one particular part of the chamber. It was what seemed to be the oldest part of the structure, and you had to travel through a few smaller rooms and wings, and down a set of stairs before you came to the place.

I suspect it wasn’t so much that he chose to remain down here, as it was that whatever powers he possessed or had influence over him made him sit there, and not get up again. The Oracle sat on a stool on a wooden platform in the shadows between two book shelves. I didn’t know what to expect from him. To be honest, I had heard tales of other Oracles but I hadn’t had the privilege of meeting them. It was said that each one had been human at one time, but through a gift or a curse, they had mastered and eventually personified the great artistic pursuits they dedicated their lives to.

So when I met the Oracle of Stories, you have to understand that I had many expectations in place. Some of them were very much fulfilled, and even expanded on. The small figure sat there, surrounded by mounds of paper. At the time I first saw him, I saw his gaze: glassy and sightless from years of doing nothing but writing in the dimness of the room he chose to sit in. I knew that others came in, respectfully, to take his writings and add them to the library. They were beautiful, luminous works that branched into all areas of human understanding: of good, and evil, and all the places between and beyond.

He sat there, mutely, and all I could hear was the scratching of his pen. I had studied everything about the Oracle that I could, in hopes that one day I could even begin to approach his level of craft. I was just an acolyte then, a novice scribe with a mild smattering of talent: but just enough to attract the notice of my elders, and get this very rare chance. I remember them almost seeming to restrain their excitement, though I didn’t know why. There were a lot of things I didn’t know back then.

For instance, I knew the Oracle was old. His hair was long and silver, and almost covered his entire face. His form, though erect was thin and the flesh I saw lined. But it wasn’t wrinkled or infirm. I remember his face most of all. Despite the many years he had been down here, by choice or condition, the only sign of his great age were the lines on his forehead, and around his eyes and the flat eternal line that was his mouth. His hand, unlike the rest of his immobile body was a flurry of activity, moving across the parchments he was given like a crazed arachnid seeking to spill its blackened blood and secrets to be augured and divined over by the other adepts.

That was the only movement I and most others ever saw of him. Yet these details were only witnessed or helped by those adepts and masters closest to him: as anything could be close to him in this world. But I get ahead of myself.

There was no expression on his face at all. It was almost as though he was asleep, or lost in a very different place from you or I. I observed him, and his faded robes amid the books and volumes and scrolls around him. He had not spoken in centuries. So when I heard him finally speak, his voice was barely even a whisper.

“How can someone who makes stories be an Oracle?” he asked, so quietly that even in my shock I had to strain to hear his words, “How can anyone who makes stories–anyone who writes or tells them or passes them down–be telling the truth?

“I used to wonder that myself.”

He gave a raspy chuckle, “Nothing is constant, except for the written word. It’s true that when you first write it, when you first envision it there are many possibilities. And when you first read it, you can only guess where it will lead you. I suppose that’s what I found books to be my most trustworthy friends. My only friends. They were the ones that stayed true. Yes, books are a lot like old friends, only truer. At first they might surprise you, or maybe even disappoint you. But when you read them once, you only discover new things about them as you read through them again and again …

“Once, before I gave everything to my stories, I loved to hear, and read, and witness the stories of others. I loved to experience those of others more than experiencing my own. My own stories, those I lived were awkward, reluctant things of necessity and survival. More often than not, they were painful things. Ugly things with petty hopes that are sometimes never requited. Life is not as neat as a narrative would have it. Yes,” the voice droned gently, “I would have given anything to be rid of the burdens of the body, and the self to be able to immerse myself in the stories of everything.

“And I did. I’m not sure whose stories I tell anymore. Whether they are mine, or those I make, or those that have happened, or have been lost, or have yet to be, or are still happening, or could be happening. Some stories I tell would have it that the person I was met a Muse–perhaps Calliope herself–held captive and I let her go. Sometimes, I remember asking one favour of her. Or she granted me a boon for my deed. There may have been nothing that tied me to the world I had even then. Or perhaps I lost something already, and long ago. Maybe I lost something that I never found to begin with, and never would.”

Those last words were almost wistful as he continued, “But I think: when I am myself and not the stories that I make. When I am not the young woman wondering what to do with her unwanted child, or the couple happily united and ready to wed, or the young man cut down as he reached the zenith of his life, or the broken ruin who wasted all of his potential into the dust … When I am not the tyrant gaining sole satisfaction from the lives I crush gleefully into blood and pulp onto the cruel twisted curvature of my lips, or the child discovering it all for the first time … I think …”

He paused for a few seconds, with a look of befuddlement twitching on his features, “I think I …”

He stared blankly and sightlessly through the shelf in front of him for a very long time. Then, finally, he spoke again:

“I think I refused her power. I think I wanted her to be free. I think, when I was an ‘I’ that I saw a beauty in her that none of the world had, and I would never have again in my lifetime. But I didn’t want that at the price that her former slaver put upon her. I think … I know that I felt great revulsion over the things that he did to her, to make her give him her power and her blessing.

“And I think that what gave me even greater revulsion was that I was tempted too.

“So I turned her away.”

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He paused again, “But she knew my heart then, when I had a heart. When my heart was just my heart. And as she left, she told that she would never leave me. Ever. And the hole in my heart, that was my heart for my entire life was filled and went beyond that fulfillment. And it was glorious, and it was power, and love, and pain of others until there was nothing but them and the stories …

“And I felt the need to write them down. All of them down. And I kept writing. Even as her parting kiss on my brow remained, I kept the stories flowing. I became them. I am them, everyday and for the rest of my life.

“And to this day they wonder how I do it. How can I sit here and molder in the stacks and continue on and not feel pain, or sadness, or hope. And I think … I believe I do feel these things still. But then I remember the sleep. I think of Sleep, the younger sibling of Death and I let these feelings go into Sleep. Sleep will always be there for me. No matter what may happen to this form. I will be in it forever. And, whenever the feelings gather, and cannot be swept away, I will tell them. My body will be the channel, and my mind and soul will contain only the stories. I will be the Oracle of Stories. I will be the Storyteller. The Storyteller will the story of the Storyteller once at a time. Until the teller becomes the Story and the Story …”

Then his words trailed off, and his hand began to twitch, and grasp his quill. And the writing resumed.

Just as mine finished.

I wrote his story down that day, for the many hours it took. I still don’t know to this very day if it was his actual story or just one of the ones that had taken over his mind and body. But it both awed and frightened me in its scope. And as I myself near the end of my life, of my story, I can die happy: having my own question answered.

All stories are true, as many wise storytellers have said throughout time. And I will always know why the Oracle of Stories is sometimes called the Storyteller.

Let’s Play

I have a friend who believed that he could gain enlightenment from a video game. He sat in the school cafeteria and the quad every day: just plugging away at his old Gameboy with its off-white frame, chartreuse buttons and yellow green-grey screen. Come to think of it, I don’t think there was any place I hadn’t seen him playing that game, except after … stuff happened.

His favourite game was Link’s Awakening: the first of the Zelda series ever made on Gameboy. I’d see him there–especially in those latter days before graduation–immersed in piping miniaturized synthetic tones and colourless 8-bit sprites as he sought Link’s sword for the millionth time … and attempted to find something else as well.

He didn’t always play it, mind you. We table-top role-played as well: old-school gaming with paper, pencils, Lego figures and dice. We were part of a group that even now still meets up from time-to-time whenever our schedules allow. My friend was–is–a good, quiet person: the kind of guy that you could always talk to. At the same time, he would sit stiffly and tense: as though uncomfortable in his own body … or his surroundings when he wasn’t occupied with something. But this all changed whenever we had a game on. You just couldn’t get him to shut up. The tension, wound in him like a spring, would uncoil and he’d get crazy energized. He got aggressive and vicious in-character: becoming this very manipulative, charismatic monster of a mage or dark warrior.

It’s funny how an introvert who liked to play Zelda games also liked to play the bad guy.

One time, when we were bored, I asked him why he kept playing that one video game. I mean he passed it several times at that point. Of course, he was still playing it while I asked him that question, but looking back it was one of the only times he really started talking about anything else outside of our game sessions.

He told me that Link’s Awakening was the only game where you got to see Link develop as a person: a person not defined by rescuing a princess. The way he saw it, Link left Hyrule and Zelda to find himself again … or even find himself for the first time. He argued that Koholint Island–the place where Link finds himself marooned–is a space inside his own head where he could confront his personal demons and know who he is.

My friend also told me that every time he played the game, he found something new: some small detail that he’d missed during his last few playthroughs and that over the years many of the challenges, as well as the in-and out-of game references started to gain more sense and nuance with time. He said that the puzzles became like koans that he meditated on through interaction: small little mysteries that he liked to solve.

Although he didn’t go into much more detail than that, which was deep enough, I also think he liked the repetition of it: the symmetry of those puzzles, the rhythm of the battles and the cycle of music that played and linked it all together. It’s really fitting in retrospect that he used the word “koan,” because I think these elements more than anything else let him come close to a Zen-like calm while he played his game. It was probably the most at peace I had ever seen him.

The more … stuff changes though, the more it stays the same.

My friend doesn’t play that game anymore. In fact, he doesn’t play any video games these days. Now he only watches “Let’s Play” YouTube videos. I’ve seen him. Sometimes he looks satisfied watching other people resolve conflict, combat, and puzzle solving in nice, immaculate patterns. Other times, he gets utterly exhausted and falls asleep in front of his laptop: with the forlorn beauty of a nostalgic 8-bit track playing in the background on a feedback loop. But there still many more times where it’s like he’s watching for something, looking intently at those video recordings while trying to find something new or rediscover something lost with a silent kind of desperation.

Ever since he stopped trying to help Link awaken, my friend is a different man. He’s still polite and helpful, but he’s somehow quieter, less tense, but … emptier somehow, and very, very tired. When we role-play nowadays, he doesn’t play villain characters anymore. Instead, my friend likes to play heroic characters with good and honourable intentions: even when they go horribly wrong.

That, more than anything, says something to me. In fact, it speaks volumes.

I Wanna Cast Magic Missile: Art, Science, Spellcasting, and Making Things

The Dead Alewives comedy skit reference aside, there are two classes of spell-caster in Dungeons and Dragons that have always interested me. I would imagine that most people who are familiar with the fantasy genre know what mages are. Mages are essentially spell-casters that use magic through rigorous study, research, and memorization of rotes and ritual. Much of the phenomenon that they create and observe is practised in a manner not unlike science: although inevitably it is a science based on a different kind of reality and series of physics intrinsically different from our own. Essentially, add animism–the idea of a sentient or semi-sentient spirit–inside all organic and inorganic matter and you see how mages can create a science of pacts, magic circles, and artifacts to understand, classify, and control their surroundings.

Then you have sorcerers. Sorcerers are also people who use magic. However, they can’t learn to harness their power through textbooks or even teachers. Whereas mages have a very stratified and hierarchical arrangement of knowledge–of learning and politics–sorcerers tend to be loners, and have to learn how to use their power through trial and error. You will notice that I make a distinction. Mages use magic and work with or twist the rules that exist around them. Sorcerers have their own power. It is, at least in some depicted worlds, inherent within them. In some D&D worlds, they are considered Dragon-Blooded or something along those lines. Essentially, sorcerers have a power that they can only access through experimentation and direct experience: and the power expresses itself differently depending on the personality and the focus of the person that harnesses it.

I’m also not saying that sorcerers can’t have teachers, but these teachers are generally more like mentors: in that they can give them hints and show them how they use their power, but in the end it is ultimately up to the sorcerer to find their own way.

As you can imagine, mages have an advantage with regards to resources and guidance. They have a craft or a science with very clear rules that they can work with or seek to circumvent entirely. Basically, the most ambitious mage operates on the principle that it is only by knowing the rules that you can eventually get around them, make new rules, or surpass all of them entirely.

However, the sorcerer does not solely depend on a book of spells or external sources to empower them. They have that spark inside of them and, if they survive long enough or adapt to that point, they can summon the power they need and do it in a way that is customized solely to their touch. In other words, no one else can cast magic the way that one sorcerer can. In addition, they do not have centuries of tradition or hierarchy to limit their very perception of what can be experimented with.

Mages are usually part of an academy. Sorcerers are often autodidacts: those people who teach themselves what they need to know. You could make an even greater generalization and state that mages are the academics of a relatively established system of magic while sorcerers are artists of their own personalized mystical arts.

But here is the thing that always strikes me: where is the line?

Let’s say that writing is magic. There is a large amount of theory and documentation about writing. Universities and colleges teach one about grammar, spelling, and various conventions and genres. Schools have teachers. You are taught to view something analytically and you are exposed to various selected texts to influence you. It is also argued that at least in the Modernist era many writers had this form of formal education and knew what the rules were before experimenting with them. You can also apply this model to fine art: learning the basic shapes of various elements before you can experiment with them.

It might be tempted to say that people that work with such matters would be the equivalent of mages. But then consider this. After the academy, the mentorships, and the peer-reviews you are left to your own devices. Or better yet: you were never exposed to these. You were taught just enough to know the basics and then encouraged by something inside of you to seek out those things that greatly interest and resonate with you and work with them. You are not in the classroom with its specialized language and jargon. You often find yourself in strange and unconventional places: perhaps doing even more unorthodox things. You keep recording these experiences inside of you and you express them in different ways: making as though you are dreaming, or screaming, or just being.

But where is the line? Isn’t it possible to have that spark in you from the very beginning: to learn the rules and conventions of an established system and then go out into the world and learn your own words with and beyond that structure? I know that I may have merely described another mage with this extended analogy, but consider when a science and craft verges past that line into personal art. Sometimes a person can’t learn how to use their power of expression through established or conventional means. Sometimes you make or conceive something that can’t be replicated through a formula.

But is it at all possible to learn the basics from a formal education and then use personal experience and that spark–whatever it is and if it even exists–to make something new: or at least a really interesting variant of something that already exists?

I think, for me–in this analogy–that I was born a sorcerer but trained as a mage for most of my life. In my time at the academy, I sought to follow my own work through less travelled paths and eventually came to a point where I realized that I needed to pursue the knowledge I needed on my own. My teachers and my University gave me tools and selected readings and their own perspectives. But I know, after my time in a Creative Writing Program, that while teachers can teach you how to write or how something works, it is ultimately up to you to express your own personal voice. No other writer, artist, academic, book or work can do that for you. It is both a difficult challenge and an incredibly awesome task which, in the end, is entirely up to you.

Therefore, in the end–having gone far past the danger of making faulty analogies and false dichotomies–I feel like a mage with the heart of a sorcerer.

And with that, I cast magic missile into the darkness.

Other People

Will’s face felt stiff. His smile tightened the muscles around his mouth and looked genuine: at least in his own opinion. When he laughed at another person’s attempt at a joke, he forced it to project into his chest and the resulting hollow feeling only served to make the sound louder. Even so, the clambering background noise of the White Crescent Cafe seemed to drown out everything else and Nor was otherwise preoccupied.

It was a few days after they met at The Club. He watched Nor interact with the others. Will felt strangely deaf without the music of The Club completely drowning out all other conversation. Aside from her one quote from The Day the Earth Stood Still, they had barely talked amid the booming percussion of the speakers. It had just been her hands directing his own to her hips as Orbital’s “Halcyon” reverberated gently and transcendentally into the soft luminosity of The Club.

It was just their eyes as Nor smiled at him and he knew, then, that this was an expression that came easy to her. Then there was the night in his room and the exchange of phone calls that came after.

But here, at the White Crescent Cafe, it was different. The place was trendy with its half-moon caricature eating a croissant and holding a cup of coffee. It was crowded with many different conversations that made it hard to hear Will’s own voice: even in his mind. And while Nor’s acquaintances seemed friendly, Will felt that they were very self-involved.

Will continued to answer generic questions about his job (writing) and his “neo-50s look” (which wasn’t a style so much as what he looked like) until his insides ached. The centre of him was tightening until he felt a hand on his arm and saw Nor beside him.

“I have to borrow him for a moment,” she told them.

“Ah, yes,” Will felt himself wink at them with a cleverness he did not feel, “If you’ll excuse us.”

Everyone smiled and laughed as Nor led will outside the Cafe. They went to the side entrance and came to a stop. Will saw Nor looking directly up into his eyes.

“Are you all right, Will?”

“Yes,” Will said quickly, “It’s nice to talk with your friends and everything. They were just asking me–”

“You know,” Nor said, “it’s okay.”

Will blinked, “…what is?”

“You don’t have to pretend with me, Will.”

He felt Nor cup his cheek. It was almost instantaneous. The knot of tension inside the core of Will untwisted. It was as though Nor’s words and her small touch on his cheek were a knife destroying the great internalized pressure inside of him.

Will stood there as he felt streaks of warm wetness trail down his face like blood. The released pain and discomfort was the most silent of assassins: killing his parody of artifice and granting mercy. The two of them sat near the wall, with Nor holding him and stroking his hair.

“You never have to pretend with me,” Nor spoke softly, “I can talk enough for the two of us.”

For a long while, Will didn’t even make a sound as his released tension dripped out of his face and finally dried.

“T-thank you,” Will managed to reply with a tremendous sense of relief, “Neil … likes to say it’s ourselves, but sometimes it really is other people.”

Nor smiles, “It gets easier with practice and with small numbers. But sometimes, you are right.”

The two close the small amount of distance between their faces and kiss. Then they leaned on each other for a time before Nor came to her feet and pulled Will up to his own.

“We can do that later though,” Nor said, “Right now, let’s just go home.”

“Home?” Will asks with a combination of incredulity and a larger amount of hope.

“Yes,” Nor hooks her arm through his own as they began to walk, “Home. Sometimes, it’s other people too.”

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Credit: artofimperfektion on Flickr … the couple of which whose pictures they really are.

The Magic Killer Formula

I’ve learned that there is one thing that can kill magic.

You might think a few things to yourself at this point. First of all, what do I even mean by magic? When I talk about magic, I am talking about wonder. I’m talking about imagination and a variety of human emotional responses to that practically limitless power.

So with that working definition in mind, how can something like magic get destroyed? After all, energy can neither be created nor destroyed. But that’s just it: I’m not talking about something that can be completely obliterated: if such a thing is even possible.

Magic as I see it can’t be destroyed, but it can be killed. It can die and leave a corpse of some sort behind: an empty pattern or a shadow of what it once was.

But what can kill something like magic?

You might think it would be reality. Reality is gravity, social structure, obligation, physical health, and consequences for any action taken or not. Yet that isn’t enough. In fact, magic can complement and even thrive in such an environment: accentuating and making art from the mundane. It can even make you see reality in a whole other way if you let it, or empathize with what you see and feel.

No. Reality by itself can’t kill magic.

However, try injecting an amount of irony into magic. I don’t mean a little bit of it: that just adds some cleverness and some poetic justice to the flavour if you are good enough. Now, try adding a lot of irony to the magic on your Petri dish: to the point where it even needs one. Usually this is a particular substance distilled from reality and it is like an anaesthetic: capable of creating enough emotional detachment to remove any hint of sensation.

How about a little irony, Scarecrow?

All joking aside, the irony at that point is still small because it is a distillation, but it worms its way into magic’s heart: into the core of it. Very slowly, but surely you will get to the point where the organism mutates. It starts to shrink and shape into a more definite shape: like the aforementioned Petri dish or other container. If you didn’t put too much irony into the mixture, then it still has a chance. It can look at itself and laugh at what it sees. It subverts itself but still has the potential to expand out again and become stronger for it: more multi-layered. Parody is still magic and if you can keep it at a point where the irony allows for comedy and reflection as well as a certain levelheadedness, then it’s all still good. After all, a little bit of cyanide or Iocane powder over time supposedly builds some resistance to such within a subject.

It’s when the cynicism in the cyanide develops that you have to watch out. At first, it all seems very well and good. The mixture you’ve made seems even more clever, even more biting, even more … cold. And then, even when it goes out of control it is so incredibly casual and smarmy that you don’t even see that anything is wrong.

The fact that it breaks things down, and takes things apart isn’t in itself bad. There are plenty of essential acids that do the same thing. However, it never stops and it rarely stays in its container if you keep feeding it. Pretty soon it begins to roll its eyes at anything it can find. It likes to “make fun” of any kind of enthusiasm, any form of passion, any vitality or life that it can find. The reason I put “making fun” in quotation marks is that this form of cynicism–the corrupted remnants of magic–doesn’t even remember what fun actually is, never mind the fact that it no longer has the capacity to make it.

It reaches a point where nothing is good enough for it anymore. It calcifies and stratifies into something with a hard outer shell and, pretty soon, even the most valid forms of expression or emotion are worth nothing more to it than objects of derision. Think about that for a few moments: a valid emotion as a human being means nothing–not even spit and garbage–to this form of cynicism that calls itself “sophistication.”

However, “sophistication” has a secret. Behind its calcified armour and its twisted barbs is the place where its heart used to be: a brittle core. You might think it is empty now, but that isn’t true. Instead, at the core of what this irony-infected magic has become is shallowness, immaturity, and above all else: fear.

Late-stage cynicism or sophistication need not be a terminal condition however. Take just a tincture, a small drop really, of a really strange natural marvel (which even now I hesitate to call an antidote) known as hope and you will see results of some kind. Of course, it might be too late and if you don’t add enough hope, the substance will only invert into its own hole and it will not really come back from that. In fact, it will pretty much die.

But–but–if you mix hope with wonder, enthusiasm, and general interest, then perhaps those barbs will soften, the carapace will begin to fall away, the mass of it will expand again, its temperature will rise, and it will be more malleable, more … open to suggestion. Of, if you’d like, dead magic is just like some kinds of dry flowers I once saw. If you submerge them in clear water, they will at first sink and then rise to the surface again as whole and vital as they once were.

Also, and more than coincidentally, the magic resulting from this form of rejuvenation is reported to be exquisite, if not outright extraordinary.