She is only allowed to fly to her destination, not anywhere else. She notices that she is not where she should be, that she cannot progress to where she was told to go, and she careens out of control when her wings won't flap anymore, and she crashes.
Just outside the entrance of one such building close by, a... mortal, let's go with mortal... leans against a stone pillar and observes her with a skeptical expression.
He scoops Promise off the ground and carries her into the stone building, where he proceeds down a half-concealed stairway into a smallish room. The only item of furniture present is a bed. The mortal deposits Promise on the edge of it and then sits where he can see her face, next to the room's remaining objects: a mug, a box of teabags, some large jugs of water, and a kettle.
"Fancy a cup of tea?" he inquires.
"I think we may have to throw out the term 'mortal' as hopelessly ambiguous. I am not human, though I once was. I am the most common kind of nonhuman on this planet. Relative to humans I am also significantly less mortal, a distinction that many other kinds of nonhuman cannot boast."
"Reasonable. So, I am a vampire, which is a type of demon. Most nonhumans are demons. Some are gods instead. I suspect you are not properly a demon and you certainly don't appear to be a god. Degree of mortality varies widely but I haven't heard of anything that cannot theoretically die, just things whose destruction would be difficult to accomplish in practice. This planet is called Earth and it is where most humans live, and nearly all vampires since vampires are all former humans; demons who don't live here live in any number of other places categorically known as 'hell dimensions', accessible by various means but most relevantly by the Hellmouth located in the school library of this very town."
"The people who did it killed everyone I ever loved, that's objections one and two, and then turned me against my will, that's three. At the time I was very upset about the prospect of losing my soul, but then it turned out that mostly what I want to do without the constraint of ethics is wander the continent halfheartedly searching for something to do with my life that will be more interesting than ending it. No luck so far."
"Then I don't know if I'll interest you or not. To begin with I should probably wrap up my hand, because sorcery doesn't work in the mortal world, and then I need a source of food because you don't seem to have one, and then - well, I met a mortal but it was so long ago and we mostly didn't talk about what sorts of lifestyles are available in the mortal world."
"I didn't have a lot of information to go on, but if they're that big of a facet of most people's lives I suppose it would probably have filtered to me. And I haven't heard of hell dimensions so I suppose there are already more worlds than I was expecting. And this one allows sorcery. Sort of." She frowns at her light. It firms up slightly, then goes out altogether, then reappears wan and small, then brightens suddenly and makes her eep and put it out.
"There are humans who haven't heard of demons, most of them in fact, but it took a not very well-understood series of historical accidents to get them that way. And if fairies had only had contact with the ignorant then they would be less ignorant, at least of fairies in particular."
"Sometimes fairies go to the mortal world, but I doubt that they're especially public about the details of their personal traits while there without - typically - the benefit of sorcery." She makes more lights. She looks in absolute bewilderment at the pattern of dim and sun-bright they form in the grid she has made. "The harmonics here are drunk."
He goes off, and returns half an hour later with a cardboard box advertising Copy & Print Paper, 2500 sheets, 8.5"x11", 5 reams. On top of the box there sit a stack of spiral-bound lined notebooks, a separate stack of similar books of graph paper, and a few packages of bizarre mortal pens. All together the assortment weighs about as much as Promise. He plonks it down by the foot of the bed.
"Sorry about that. I just - I don't want to - I'm not going to hurt you but I'm paranoid right now. Um. It's your name, it was your real name, that counts even for someone who's already your vassal. You haven't exactly given me reason to be suspicious I just -" Headshake. "Never give me an order that I do not expressly request of my own uncommanded will, or that you do not sincerely without mental contortion believe to be in my best interest as you genuinely understand it, except for a copy of this order should you so desire."
"I might come up with one after I've had more than twenty seconds to think about it. But I don't think it hits the optimal balance. As stated I think it needlessly prohibits me from giving you permissions if I happen to be confused about how they relate to your best interest, which seems silly, but I haven't come up with an elegant way to change the wording."
"Yours, because I can't very well oblige you to read my mind - reading my mind is not in my best interest, if there was confusion on that - but you can incorporate things I tell you, like 'permissions are in general beneficial to my best interests'. I wasn't expecting this to seem very complicated, I confess."
"The system isn't especially complicated. New orders take precedence over old ones, independent of source. Imperatives and permissions can be enforced, or not. None of the details like that have to do with whether you can figure out that I would rather be allowed to do things than not."
"It could have been the case that the words are decoration and only the intent of the speaker matters, or that your own definition of your interests was to some degree silently encoded in the phrase, either of which would have addressed my objection. Instead, apparently the burden of interpretation falls to me. What guarantees do you have that my assessment of your interests is going to be anything like what you expect? I'm not necessarily thinking about myself in particular, here - my genius is decidedly not of the interpersonal variety, but I get by - but if you'd thrown that instruction set at someone who happened to have a conflicting cultural background, or a patronizing authoritarian streak, or who was just very very bad at guessing what other people want, it could've ended poorly for you."
"Oh, many sorts of horrible danger. Individual risks are fairly low, but they loom in aggregate; this is the sort of town where any random passerby might think you a fine target for their particular hazard, whether that leads to you being eaten, kidnapped, dissected, set on fire, pelted with rocks, sacrificed to dark gods, something entirely different, or any combination of the above."
"I started in a forest where it was almost always late afternoon," remarks Promise. "How much would you mind having a gate to Fairyland inside your crypt? I've already mapped the room and should be able to make one, and if I aim it inside my tree that should be safe even if the outside of the place is being staked out. I could get a branch and plant it here and stop crowding you."
"I'm going to be here for possibly weeks. The gate into my tree will take a while, I'll probably just move to a different part of Fairyland after that but that gate could also take a while, I want to know what good ways might be to spend my time between now and then."
"The school library is somewhat more dangerous, given that there is a Hellmouth there and every so often someone tries to use said Hellmouth to cause some manner of mischief. And the public library has a much wider selection, it's just that most of it is written and curated by people who have no idea that magic is real. So their relative merits depend on your interests and risk tolerance."
"A few times a year, at a guess? Really serious ones are less frequent, and I'm sure a handful of demons getting together in a pub somewhere and making idle boasts about their capacity to bring about hell on earth is practically an hourly occurrence. But I would be surprised to find out it was less than once a year on average that someone actually put a plausibly workable plan into action and needed thwarting by some combination of luck, providence, active opposition, and their own stupidity."
"Sentiment? Tradition? A desire to create lasting memorials, fueled by discomfort with the idea that in the long run most people will not only die but also be completely forgotten by history? Many humans also believe in an afterlife, although their hopes are largely unsubstantiated by any form of concrete evidence. There are assorted means by which particular individuals might persist after death, but I haven't heard anything that suggests something more comprehensive."
The books are organized according to bizarre and largely impenetrable local principles, but at least some of the divisions are recognizably by topic. The stuff on the easily visible shelves mostly doesn't obviously pertain to magic, but Sherlock goes behind the counter and starts pulling out piles of books manufactured in a less alien style; perhaps he knew where to find the good stuff.
Potion recipes make claims to such effects as: curse removal, securing the love of the drinker for the brewer (for a duration of one month), multiplying any nonmagical liquid to fill its container (size of container unspecified but from context they seem to be thinking flagons or barrels rather than lakes or ponds), and a dozen varieties of curse including warts, plague, petrification, loss of assorted facial features, and 'to Burn with an Unquenchable Flame'.
There's a densely-written page and a half of advice on ensuring that you can't be easily traced: don't let them see your face; don't let them hear your name (where 'yours' is any you commonly use); keep very good track of your hair, fingernail clippings, blood, etc.; do not lose any items of sentimental value near a dark ritual site; if you suspect you may have lost a glove, sock, shoe, or other paired garment near a dark ritual site, burn or abandon the remaining item immediately.
"Very thorough," comments Sherlock regarding these safety measures.
They catch fire in sunlight. Certain items and substances (crosses, holy water) cause an instinctive aversion and raise painful blisters on contact. They are physically unable to enter a private home without the explicit invitation of a resident. They cannot eat food and must drink blood to survive. The process of turning a person into a vampire replaces their soul with some sort of demonic entity, which is why they are all irretrievably evil.
"I'd be surprised if there wasn't some way to tell if you have a soul, but I don't know it offhand and I'm not sure where I'd start looking. At a guess I suspect you're safe, at least from that particular hazard; the commonest way to detach a soul is turning someone into a vampire and that only works on humans and part-humans."
"Unquenchable flames. Petrification. Turning you into a rat. Turning you into an unquenchably burning stone rat. Locking you in a box and dropping you in the ocean, that wouldn't even require magic. Summoning an appropriate variety of demon or spirit to possess your body. No one's going to look at you and think you're especially likely to have a soul they might want to rip out, unless they miss the wings somehow."
There sure are a lot of types of magic mirror. Mirrors that show you what you ask for or what you need to see; mirrors that you can walk into and explore; mirrors that you can walk through and end up in another location entirely; mirrors that contain bound demons who do various things like warp nearby reality, send messages on command, or scream foul obscenities at anyone they see.
Sherlock comes back when she has it open to a description of a mirror that shows your heart's desire. "Wouldn't that be fun," he comments. "But vampires don't have reflections, so I'm not at all sure if I could play."
The most general-purpose scrying ritual involves a candle, a metal bowl, a pinch of salt, a splash of ink, and a drop of the caster's blood. One adds various target-specifiers at various steps of a short ritual, culminating in burning all burnable ingredients in the bowl and then pouring the ink over the ashes, filling the bowl with water, drawing and adding the drop of blood, and staring into the bowl until a clear image forms.
"These are all written for a human audience but I don't think the spell will care," Sherlock mentions.
"The answer to that is also lost in obscurity, but as a plausible theory, consider that it is not reputed to stop anyone from stealing it or to remove the need for sleep. So presumably it was passed around from vampire to vampire until someone who didn't like vampires got their hands on it and threw it down a deep dark hole."
"It doesn't have to be hard to find, it just has to be out of reach of anyone who's actually tried. If it's in or near Sunnydale and there's a clue to be found, I'll have it by next week. If it's found its way to some other localized attractor of supernatural phenomena, it might take me a month. If someone actually managed to hide it in a hard-to-access location or erase all meaningful clues to its whereabouts, it could be longer. And if someone managed to destroy it I'll have to go with the fallback plan of figuring out how to reinvent it from scratch, which could really take a while."
"Oh, some of the crowd is interested in the Hellmouth or drawn by the size of the existing crowd. But plenty of demons and vampires and assorted magic users have no idea the Hellmouth is even here, and yet they still show up, in numbers vastly disproportionate to the size of the town. I'm not enough of a magical theorist to know if the amount of miscellaneous magic that clusters here without the obvious intervention of any intelligent beings is adequately explained by the presence of a great big gate to hell, but there's a lot of that too."
Scrying techniques are many and varied and there is no clear reason why they should work the way the book claims they do.
"No good clues to the Gem's location in here," says Sherlock, closing the vampires book and wandering off presumably in search of another, better vampires book.
"There are vague trends. Spontaneous death is usually reserved for people who were trying to do something very difficult or powerful or destructive. I would be surprised to hear someone died of spell research trying to invent a new scry in a way I wouldn't be if they were trying to invent a potent curse. But there are few guarantees."
"What amazes me is that most of the biggest advances in the human magical tradition seem to have been made hundreds of years ago when the human population was comparatively small. Then again, being outnumbered by demons at every turn might be a strong motivating factor in trying to gain power by risky means."
"Oh. In that case you might want to make solving mortality your second priority after conquering Fairyland. Priority order suggested on the assumption that the total difficulty of both tasks will increase if you do it the other way around, which I think is plausible. An unconquered Fairyland would make a poor place to put newly ex-mortals, I imagine, and if everyone stopped being able to die the overcrowding issue would get very pressing very quickly in a way I'm not sure space colonization could solve; on the other side of the equation, while it's possible that solving mortality would put you in a better position to conquer Fairyland, it seems likelier to me that it would provide lots of opportunities for obstacles to arise while you're busy. Such as someone from this world figuring out that Fairyland exists and trying to conquer it first, or someone from Fairyland noticing that you're over here amassing power and deciding to do something about you before you become a substantial threat."
In his ongoing search for information on the Gem of Amara, Sherlock finds a few books he thinks Promise might like and adds them to the stack with the scrying books. On top of learning a lot of things about various kinds of scrying, she can also read about various kinds of portals or other methods of moving between worlds.
A book about the Hellmouth itself and other location-specific, plausibly-naturally-occurring dimensional portals, discussing their respective characteristics, which realms they are known to connect to, and how flexibly they may be used to travel to places they do not naturally go.
A book about known demon dimensions, discussing how easy they are to reach, what it is like there, and the nature and hostility level of their inhabitants. This demon dimension is normally mutually accessible from Earth only at specific sites; this demon dimension is inhabited by a non-hostile species who can travel fairly casually between realms but who refuse to allow any visitors and don't often leave their own dimension in the first place.
A book on advanced magic that has a section on (difficult, dangerous) portal creation alongside sections on (difficult, dangerous) forging of magical weapons and (difficult, dangerous) ritual warding.
"That's what I was thinking, yes. That and raiding assorted hell dimensions for useful recruits. A lot depends on which spells and artifacts turn out to be practically accessible to us, but interdimensional transportation could be a promising avenue on multiple levels."
"Different cultures develop different ways of doing magic, usually with different specializations and underexplored areas, often appearing to work on completely different principles, yet bizarrely cross-compatible whenever anyone bothers to learn more than one. There is, as usual, no credible explanation for this whatsoever."
There it is.
She steps through.
She comes back with a tree branch. "I can sleep there over... day. Should be safe enough as long as I don't go out. But the food I had is all shriveled up to nothing and I can only get so many haws to grow on the inside of the tree without the outside moving suspiciously, so I do need to be fed again."
"Should I test it, then? One attempt to get into your tree never having been permitted by any means, one attempt having been permitted silently, and if that fails try a verbal invitation and if it succeeds try silently revoking permission? Permission for a vampire to enter one's home cannot traditionally be revoked except by magical ritual."
The tree looks like an abandoned house. It hasn't accumulated much dust, because it has no air holes. It is lit by fairylights and has some shriveled-up fruit in the cupboards and what is probably a bookshelf hidden behind a layer of wood for some reason and, on top of the bookshelf, a bed.
"And so could my aunt if we kidnapped them both and imprisoned them in my house to cast spells on them, but I want subtle, Giles, give me subtle. I want her out of her kid's head and ideally into a state incapable of casting spells before she has a chance to notice something is wrong."
Then she lowers her artifact and addresses Promise and Tea: "Is there some totally innocuous reason why a vampire and a... fairy?... are breaking into Sunnydale High shortly after sundown?"
"Most relevantly, the Slayer's job is to kill vampires and generally save the world from evil," says the Slayer. "And that was funny because 'Sherlock Holmes' is the name of a fictional character and I just quoted something said to the fictional Sherlock by his fictional nemesis."
"I am tentatively in favour of letting him live, but if you want him spared purely on the grounds that he is your vampire then it is implicitly your responsibility to keep him ethically fed and sheltered and discouraged from going on killing sprees," says the Slayer. "If this responsibility is not to your liking then I suggest you not go around claiming ownership of vampires."
"Granting for the moment that he's completely innocuous and it would be very helpful to make him in particular immortal, someone else might steal it from him, and the Gem of Amara is famous for its ability to turn ordinary vampires into huge problems. I don't like huge problems."
"She's doing late-night research in the library where all of the useful books we've been reading are kept. And she's the Slayer. Slayers come with Watchers, who are members of an organization known for having a lot of useful books, among other less relevant characteristics; it follows that her Watcher is probably the librarian and very familiar with his useful books. If she asks him where to find the Gem of Amara, he'll be able to locate that information in his own library much faster than I can if it is there at all. That also goes for anything else we might like to look up."
"I think she's charming," says Tea. "I know you're not very impressed by her decision not to attack me on the spot, but I really can't overstate how solidly reliable a policy 'just kill any vampire you meet' actually is if you value the preservation of human life. I am a very unusual vampire and the fact that she's willing to be convinced of that makes her a very unusual Slayer."
"Actually it afforded me an interesting insight into how she seems to think. I begin to suspect she might be useful to your long-term project," he says. "I don't yet have enough evidence to tell whether she is any good at it but she definitely seems to view the world in what I might call administrative terms. Her taste in fictional characters also lightly implies that she's the sort of person you might expect to find at the center of a well-organized network of people with useful skills."
"If I could unproblematically guarantee the helpful cooperation of whoever she's getting the sunlight ward from, I'd ask them to spy on your old court for you if you're still interested in that, and I'd probably ask them what they can contribute to the effort to conquer it. I don't know what else they might be able to contribute specifically, but I'm inclined to suspect them of usefulness regardless."
"I have your name. I can tell you what to do and what not to do and there are not alternative options, not if I mean it. I am a nicer than average fairy, but this very niceness is incompatible with you going around eating people now that I can stop you. He's," she indicates Tea, "going around without any particularly intrusive orders on at all, but I didn't catch him about to murder someone, so if you want to get on a blacklist arrangement of orders instead of a whitelist that's going to be a process and if you want to go all the way to trusted to behave without orders at all that is going to be yet more of a process."
"I don't know, I wasn't expecting to acquire another vampire tonight, but here we are. Probably the shortest version would be commanding the truth out of you and then having some extended list of questions about under what if any circumstances you might revert to your old habits, but we're expected elsewhere soon."
"...I'm totally on board with not eating people anymore if I get a sunlight ward out of it, and I really want to be able to, like, do things without Promise having to specifically let me do them, this is a very awkward situation to be in and I don't like it at all," he says. "I can be on my best behaviour, watch me, I won't eat anybody, I won't even kill people to take their stuff."
"...If I thought I was definitely never going to see any of you people again and no one was going to care, I might go back to eating people, but if I was used to the alternative by then I might not even bother," he says. "Otherwise, I mean, it seems like what you want from me is to not murder anybody, and if it gets me out of the kinky fairy magic I can totally do that, so I'd stop eating people and go out of my way not to kill them if I can help it? I might still get in fights and stuff, I'm not turning into a total pacifist over this, but I hope it's okay with you guys if I defend myself, it's kinda unfair otherwise. But I don't get much of a kick out of violence for its own sake. So I might hurt somebody if they attacked me or looked like they were definitely about to, or if something came up that I can't think of right now that seemed like it would be basically acceptable to somebody with their soul still attached, and I guess I'd still bite people, like, consensually without killing them, if I found somebody who was into that? Is that a complete enough answer, I think it is but I'm not sure...?"
"There are two possible versions of the ward," says Castle. "The short version will work, and it'll be permanent on what I might call the human scale, but there's no guarantee it would last you hundreds of years if you live that long. The long version will be much more reliable in the very long term, but it'll take longer to cast and part of the setup will involve your cooperation in a spell that'll show me a general overview of how your personality works. Preferences? And who wants to go first?"
There is a large flat space cleared in the center of the classroom, with desks and chairs stacked against the far wall. Castle unstacks some chairs, sets them at the back of the classroom, and indicates them. "Non-participants over here," she says, and then starts checking a compass and laying out a geometric figure on the floor with masking tape. "Participants are just me, Royal, and Vampire Two for the first round."
"Chess is a very old and widely-played game involving a number of pieces defined to have different abilities and characteristics," Castle explains. "The pieces are king, queen, rook, bishop, knight, and pawn. The kind of magic I practice involves setting up metaphors in which spell participants are represented by various chess pieces. I'm very strongly a rook, also known as a castle, hence the nickname; Royal's strongest pieces are king and queen, though she can take knight in a pinch. The setup spell here is a pawn promotion, which references a move in chess where a pawn, normally the weakest piece, can be transformed into a queen, knight, rook, or bishop. I'm going to represent Vampire Two as a pawn in the spell and then ask the magic to show me which of those four he has strong associations with. But it can be helpful to have an idea ahead of time."
The glass pawn goes directly in front of Vampire Two, with the knight just past it, and a steel rook beyond that; the glass rook goes to his right, the glass bishop to his left, and the glass queen behind him. The four possible promotion targets thereby form a square with Vampire Two in their center. The outer square of steel pieces is completed by a queen on his right, a king on his left, and a second rook behind him. Royal sits down behind the second rook as soon as she's placed it.
"Now I'm going to talk to that glass pawn for a bit. There will be some illusory special effects related to the spell metaphors. Nothing too exciting, probably. It'll show us what you promote to, and it might hint at some other things about your life and history. Sound good?"
"It might look like other scenes and objects are replacing or overlaying this room," she says. "Mysterious figures appearing and disappearing. That sort of thing. None of it will be real in the traditional sense. You won't have to worry about throwing a blanket over your vampires if the metaphor shows daylight, or anything."
Castle addresses the pawn. In a pleasant poetic rhythm, she talks about metaphor and resonance, symbols and associations. The light in the room seems to dim. Castle acquires a sort of faint aura depicting a round stone tower with blocky crenellations, a rook writ large; Royal acquires a faint golden crown on her head and a faint silver sword on her back. Vampire Two is at first unchanged, then acquires a hint of a vague and formless shadow hovering at his edges.
A minute or so passes. Castle continues speaking softly as these images solidify. The ceiling of the room acquires the appearance of a sky and cycles from night to clouded day to night again, starry and moonless. Then she inquires of the pawn what it might like to grow up to be.
The response is slow in coming. Castle waits in silence for several seconds. Then the knight in front of Vampire Two flares. A spark of white light travels from it to the pawn. The spark grows, reaches out, wraps around Vampire Two, and settles into a mantle of light. Something that might be a cloak, but carries a hint of wings. It displaces his shadowy aura almost completely.
Castle thanks the pawn. The images fade.
"Interesting," she says. "A knight metaphor, but not a strong one; I'm pretty sure it was trying to tell me you make a solid pawn too. And your knight metaphor isn't that usual either. Knight-as-cloak? It makes sense, kind of, but I wouldn't have come up with it on my own."
"I move on to the actual warding. Cloak actually seems like a pretty good metaphor to build a sunlight ward off of. Lucky Vampire Two. In practical terms, I restructure this arrangement of chess pieces, add a few extra things, and sit down for a second round of addressing mediocre alliterative verse to inanimate objects. Royal, help me out? I'm thinking keep the steel as-is, give him the pawn in front and the knight at his back, you can sit anchor with the stone, and I'll deal with the miscellaneous circle items."
"Round two," says Castle. "Quiet please."
This time she talks to the river stone.
She describes in somewhat fanciful language how old it must be, how it was formed by geologic processes and made its way through the forces that shaped it into its current form and carried it at last into her possession. The imagery she calls up comes faster this time, and more strongly: the darkness beneath mountains envelops the room, lightening eventually to the gloom at the bottom of a river. Darkness is a definite theme here.
She asks the stone to lend its strength to this working. She describes a cloak of safety wrapping around 'this traveller', shielding him from the harmful light of day. She describes the strength of stone walls, solidity, opacity, permanence; her personal tower-image surrounds the spellcasting area, a translucent but nevertheless firmly solid stone wall. The metaphor gives him, not a cloak, but a pair of sleek black raven's wings.
Outside the image of the stone tower, an illusory dawn breaks, spilling illusory sunlight into the room. It pours in through the walls of Castle's tower, but loses some of its fire along the way; by the time it reaches Vampire Two, it's thin and weak. He sits in a comfortable shadow. Even as the sun rises to illuminate him fully, the walls are there to protect him. His illusory feathers shine, and he is unharmed.
Castle thanks the stone for its help. The metaphorical sun sets; the metaphorical tower fades; Vampire Two's metaphorical wings are the last to go.
Once again - she varies the words slightly, but hardly at all - Castle invites a pawn to discuss its life choices.
All the images are the same at first, down to Tea's vague shadow, but when Castle asks the pawn for its decision it fairly leaps to obey. Sparks rise from the queen, the bishop, and the knight; the queen doesn't offer him more than an indistinct glimmer, but the bishop's light forms an open book floating before him with an arrow engraved on its cover, and the knight's glow becomes a radiant aura depicting him as an armoured figure on a horse.
Castle thanks the pawn for its input. Everything fades.
"Bishop as book, amusingly enough, with a solid hint of arrow," she says. "And a very versatile and open-ended reading of knight. I'd be tempted to summarize it to knight-as-champion, but that's not quite it. You could take queen if you had to but it's pretty firmly a third option, and with such a void of response from the rook in an otherwise lively pawn promotion I tend to conclude you'd be fairly hopeless in that role."
The pieces of this one are a dark red wood on one side and a pale brown-beige wood on the other, and the case unfolds into a chessboard in the same theme. She sets up the pieces as though to start a game. Rook, knight, bishop, queen, king, bishop, knight, rook, then a row of pawns, then the same thing on the opposite side.
"Each side gets to move one piece one valid move per turn, then it's the other side's turn. Pawns can move a single step ahead, or two steps if it's that pawn's first move of the game," she explains, demonstrating these capacities on the board. "They capture other pieces with a single diagonal step, like this," and she has one side's advance pawn capture the other's.
"Rooks can move in orthogonal straight lines, any number of steps." She demonstrates the motion of a rook. "Bishops do diagonal straight lines, any number of steps." A bishop sneaks out of its enclosure and darts across the board. "Knights jump, like this." The knight hops around the board. "Always in the same pattern, a combination of two orthogonal steps along one axis and one orthogonal step along the other. Then the queen can move any number of steps in any straight line." She demonstrates the movement of the queen.
"And the king can move a single step at a time in any direction. Except for the pawn, all other pieces capture the same way they move. The objective of the game is to capture the other side's king, but by convention the game is declared over as soon as it's observably impossible for the losing side's king to escape capture, or if the board gets into a state where neither side can effectively win. The actual king-capturing move is never carried out."
"I like the aesthetic. It has a nice balance of structure and flexibility that lets me compose useful spells without having to completely freeform it. It works well with geometric spell construction," she gestures indicatively at the layout of chess pieces and masking tape on the floor, "which I've always found a very intuitive medium to work with. And it worked the first time I tried it and has been working reliably since, which is more than I can say for some of my experiments with more freeform stuff."
"Knight-as-cloak... I haven't seen it before, but it's interesting," she says. "Surprisingly, hmm, passive for a knight metaphor. And the secondary association with the wings is interesting too. If I ever wanted to design a spell to let someone actually fly, I might call you up and ask you to stand in. That's another thing I like about chess magic, actually - it lets people stand as part of the spell without having to actively do any magic themselves, and they still contribute."
"Pretty freely. The limits are hard to quantify because they're so dependent on how creatively I can combine metaphors into a workable narrative. Having more possible spell participants available is a big help. If you have a spell you want designed and cast, I'd be happy to work on it as long as Royal doesn't think it would be bad idea."
"Non-chess-magic. I'm specifically wondering if you could let me break the rules of my own sort of magic in some way, but presumably you haven't interacted with sorcery in particular; but if you can't even affect other people's... interpretations of the tangle that is mortal magic... then that would be a clue."
"Well, if a gate is anything along the lines of a portal, and settling is a thing they naturally do, I can think of a few ways I might try to speed one up about it but I'd have to test them on an actual gate to find out whether they worked. Confirming my guesses about what they are and what you want me to do with them would help me be more precise. As for harmonics, I don't even know enough to know what questions I should be asking."
"Harmonics are an invisible feature of locations which affect how sorcery is done. I can map them by watching them affect something simple," Promise makes a fairylight, "and in Fairyland I can typically cast reasonably well without doing that, but here the harmonics are thoroughly bizarre for some reason and I have to map an entire space grid by grid to be sure I can get a more complicated spell to go right." Pause. "It would also be interesting, if potentially disastrously complicated, if you turned out to be able to affect fairy orders, but those are not sorcery."
Once again the pieces are reconfigured. Tea gets his glass knight and glass bishop, on his left and right respectively instead of in front and behind. The steel pieces stay put. The river stone and outer circle come back. Castle and Royal sit back down in their accustomed places.
Castle talks to the river stone again. This time, instead of leaning on the cloak metaphor, she emphasizes the 'champion' aspect of Tea's knight association - inherent strength, resilience, being armoured against harm. She talks about night and day, light and shadow. She talks about the relation of a book's cover to its pages.
Appropriately, Tea gets illusory plate mail rather than illusory wings. It shades him from the light of illusory noon, and though fire burns around him, it does not touch him.
And then Castle thanks the stone and all the images fade away.
"There, you're all set."
"Noted," she says. "Well, for the record: I am very solidly rook-as-tower. I'm calm, reliable, strong-willed, and protective. Spell-wise, my metaphor integrates well with protective wards, and can make a solid foundation for building most anything else. I find it easier to construct spells that are supposed to take hold and then have permanent ongoing effects than spells that are supposed to change something from one state to another but not stick around to make sure it stays that way."
"I'm a queen/king split who works okay as a knight," says Royal. "Since a lot of what Castle does are wards, I spend a lot of time being queen-as-sword and king-as-crown, but those aren't my only metaphors. My queen side is active, powerful, kind of the superhero type; it relates to how I handle my role as the Slayer. My king side is more of a planner or administrator, strategist rather than tactician, the person who arranges for things to get done rather than going out and doing them. And there's also a balance of masculine and feminine going on there."
"I admit to being amused by Tea's bishop-as-book since he's named after a book character," says Castle. "Bishop-as-book can mean someone who likes books, or someone who's a more abstract intellectual type generally. Bishop-as-arrow can mean freedom of movement or restlessness, in a more narrowly focused way than the queen and without overt connotations of power. A generic knight makes me think of... I'm having trouble articulating it. Royal, what's your interpretation?"
"Knights are the weird piece," says Royal. "They're powerful in a way that's different from the power of any other piece on the board. A generic knight comes across as eccentric, a lateral thinker, someone who thinks and acts their own way and doesn't follow the crowd. And that armour - Castle was right about the 'champion' interpretation, I think. Some protective instincts in there. But mostly I'm reading the weirdness."
She lays out the pawn-promotion square for Promise out of pale wooden pieces. Queen in front, knight behind, rook to the left, bishop to the right. The steel outer square remains in place. Castle and Royal sit back down.
Castle makes her speech to the pawn about possibilities and choices.
The queen reacts instantly, flaring with a brilliant light. The knight throws bright sparks that don't form a clear image. And against all predictions, the rook flares too, dimmer than the queen but with equal clarity.
Floating in front of Promise, the light from the queen forms a sleek fountain pen wearing a beautiful crown woven from branches and leaves.
And all around her, the light from the rook forms an enormous tree. Her tree, to be specific, not the one she started in but clearly one of the same kind. Its faint, translucent wood and bark manages to give a strong impression of unwavering solidity. Its image rises majestically through the ceiling, up and up to a towering height.
Castle doesn't let the surprise throw her off to any measurable degree. She thanks the pawn and lets the spell fade.
Then she says, "Well, that wasn't exactly in line with expectations."
"Interesting," says Castle. "It definitely seemed very... you-focused. I'm not sure how easily I could incorporate your rook-as-tree aspect into a spell to protect anyone else, but I have high hopes for how well it would integrate into a spell to protect you. Is there anything in particular you'd especially like to be protected from?"
"Well, for example, I have Royal protected pretty thoroughly against hostile magic. Someone trying to use magic to harm her, spy on her without her permission, that sort of thing, would find themselves thwarted unless they had enough power to wreck my spell. She's also somewhat protected against physical harm, although that's more difficult and the protection is imperfect."
"Orders which are delivered by a master to their vassal and are possible to carry out, are; exact wording matters but so does the vassal's sincere interpretation of the sentence; most recent orders take precedence regardless of source and ordering someone to ignore an order does not work but going deaf does; orders may be enforced or not as a toggle, which can't be directly observed but I don't have to watch my mouth around the vampires lest I accidentally utter an imperative; forgetting a name ends a mastery based thereupon and it seems likely that an unused food claim can wear off but a used one is permanent.
"If you forget an order which does not require cognitive work of any kind to complete you obey it anyway but if you would need to know what it was to obey it you will be stuck in a loop trying to remember; orders may compel attention to or thought on subjects but cannot except by displacement forbid thoughts about other subjects nor affect emotions, memories, etcetera; and, smallest mercy, someone who is under more than the most trivial of orders cannot have their underlying personality learned well enough to supplement that gap with mental sorcery."
"Like this," says Promise, making a grid of lights, "over and over again through the entire space I want to map. With smaller spacing, if it's a particularly tangly area." She blinks at her grid of lights. "...The harmonics are less drunk here than in the other mortal-world place I mapped. I wonder how much that varies."
"There are... not overwhelmingly regular patterns in Fairyland harmonics, but there are sorts of things they do, and the other place I mapped they were doing sorts of things that they do not do, instead. This looks -" She makes another grid. "Almost normal for Fairyland."
"I'm trying to make them all the same starting from the assumption that the harmonics are flat, which they never are, and I'm underpowering the spell enough that they don't just turn up in the exact intensity I have in mind the way they would if I were using them for illumination. So when the harmonics are light-friendly, they're bright and steady, and when they're not, the positions of the lights that are dim or wobbly or both and how much of each they are tells me what the harmonics are relative to the bright steady ones that best approximate the level of my 'flat' assumption."
"...hmm," he says. "And what patterns are you detecting so far? I almost think I'm seeing something that corresponds to the exact shape and position of your imaginary metaphorical tree, but I'm not familiar enough with the medium to know if I'm picking up on a real pattern or just seeing faces in the figurative clouds."
"I don't have a map of my tree. I - learned to make maps after I left it and I haven't made one since going back. But I can see if there's something in the space which looks like a coherent pattern of its own."
Grid grid grid. She's not pausing to write down everything, so it goes faster.
The edges of the room are drunk in a normal local fashion; the space around the spell diagram on the floor has had its drunkenness incompletely reordered into somewhat distorted geometric patterns reflecting the spell layout; and where her imaginary tree stood, a coherent and very Fairyland-like pattern overlays the fading remnants of baseline intoxication and spell-geometry.
"Damn little, honestly. And going around in broad daylight, you'd be best served to hide the wings if you don't want uninformed humans asking you why you're walking around in a fairy costume and thinking you are insane if you tell them you are a fairy. But we could make a completely legitimate visit to the public library and read about anything other than demons or magic."
"The less understandable and comfortable someone finds a situation, the less predictable their reaction to that situation. I don't expect someone who notices you flying down the street in broad daylight to get violent, but it's not out of the question that they might. On the other hand, residents of Sunnydale get plenty of opportunity to practice ignoring things they don't understand, so perhaps everyone will just pretend you aren't there or at least aren't flying. I don't have a confident prediction."
"I haven't. Yet," she says. "But you're right that it would be fairly pointless for you to try to catch up to what I've been able to find out from these books. If I'm impressed with how you handle your sun ward I will tell you everything I know about where to find it, and if I'm not, I'll have a significant head start."
Meanwhile, Tea and Royal intersperse their impenetrable chess match with only-slightly-less-impenetrable conversation. At least they seem to be getting along.
"I'm going to want to call Castle tomorrow about it. I'm sure I could just read every book on magic in this and a dozen other libraries and wind up relatively expert compared to a human, but only by spending a human lifetime on it. I'd sooner take a shortcut, at least for immediate practical purposes. I have no strong understanding of chess but perhaps I can invent something else that suits me and fills in the gaps sorcery has."
"I didn't keep a list. I've been working with geometric forms since I've been doing magic at all; I played with a few ideas early on for how to extend the system sensibly, chess was the one that clicked, and then I built from there. I didn't construct any elaborate systems that went on to fail, or anything."
"I'm not sure if I'd say that I attached magic to chess. I might prefer to say I attached chess to magic," she says. "Chess is still the same game, it's just that now I can do magic with it, separately from what anyone else does with either thing. And most of the process involved... trying things and then finding out that they worked. I've read enough to know that this is not normally what happens when someone tries to invent a spell, let alone a whole new magical tradition."
"When I started out I was a lot younger and hadn't heard some of the more dire warnings, and as far as I knew the worst that could happen was a spell failing to work. That still is the worst that's happened to me. If the sense was practice-based, I'd expect more people to have it, and I'd expect my history of spell invention to involve more and worse failure than it in fact did."
"Sorcery works by observing the setting and target and concentrating on how one wants it changed - and if the harmonics are loopy by mapping those and counting that under 'observing the setting', although you can dispense with that part if you're good enough at the rest. It rewards working on one's home turf. It can do things like growing plants, invisibility, setting things on fire, healing, turning people into frogs, transmuting materials, candying dewdrops, wards, gates, and traps. The local one or ones appear to be made of mud and sticks and glitter, require dramatically more per-spell but less per-location preparatory work and generally be more flexible about the prerequisites for a casting, and focus almost entirely on combat or at least conflict applications. If that was not editorialized enough to say what features I like, do say so."
"Sorcery is prettily simple. I do need to look up how to do something I've never done before, it took me weeks to learn to make gates - and the notation for harmonic mapping is a nightmare - but the basic concept is straightforward: know what you're doing and what you're doing it to, and it'll happen, no materials or awkward sacrifices or treating with third-party entities or particular risk of backfire. Unfortunately, it has some major gaps in its possible applications - fairies have been working on sorcery for a long time and new advances are rare and esoteric in recorded memory; it is likely that we know already how to do all of the things the system can do, at least without cheating via harmonics in some way. It is difficult to use in unfamiliar territory, on short notice, in opposing someone who thinks faster, or in opposition to a specialized fairy kind magic; I don't know how it stacks up against mud-and-sticks-and-glitter. It can't do anything about orders except that if you know someone well enough to do mental sorcery on them you can make them forget their orders and wind up in a loop trying to recall what they were, and similarly mental sorcery could delete a name from someone's head."
"So if you wanted to invent a magic system, you'd be looking for something that works for you like chess magic works for me," Castle suggests. "Works, has the flexibility to cover what you want it to do, doesn't backfire on you, doesn't have the same gaps as sorcery. Am I on the right track?"
"Mm. I see what you mean," she agrees. "Do you have any ideas for a... hmm... a founding aesthetic, a structure, the way I used chess for chess magic? Chess magic is primarily ritual-based, but that isn't necessary to all forms of magic; would you prefer something more fluid and immediate, with less preparation time?"
"Well, the conceptual structure of chess magic is useful because instead of being limited by whatever spells happen to exist to do the thing I want, I can construct a narrative out of distantly chess-based metaphors and as long as I have the right pieces to fill it and can cover any gaps with things like my focus stone, it works. I'd probably be most comfortable inventing a new system if it had some kind of structured conceptual basis like that. Not necessarily based in a game of any kind."
"I'm sure if Royal were here she'd suggest you use math," says Castle. "Which isn't a bad thought, but you'd need to know the math to get any good out of it, and most people are less eager than Royal to learn math. Hmm. Do you want to come up to my workroom and experiment with affecting harmonics?"
The workroom has a bare wooden floor, one wall that is mostly window over a long counter supporting lots and lots of boxes, and two chairs.
"So what do the harmonics look like in here to start with?" she asks, sitting in a chair.
The harmonics here are drunk in an unusually predictable and regular fashion, actually. Symmetrical patterns centered on approximately the middle of the room. They're not normal, but the symmetry is strong enough that the weirdness of any given location is pretty easy to predict if you have its opposite or neighbouring corner to compare. The symmetry is strongest at floor level, and it's actually possible to trace out its lines using the floor itself as a guide.
She goes to the boxes and picks up a double handful of small rounded stones in a lovely mix of blue, green, and purple. These she arranges in a wide circle on the floor, dragging the chairs out of the way so that they face each other across the circle, one by the window and the other by the door. In the very center of all this, she places a glossy black rook with a minimalist design. Then she sits in one of the chairs and gestures Promise into the other.
"I'm going to see if I can make the patterns even more orderly and geometric than they already are," she explains. "I'm hoping for the space inside that circle to achieve perfect twenty-four-point radial symmetry; I'm not sure what the space outside the circle will do, but I guess we'll find out."
Castle talks to the rook, encouraging it to pursue its dreams of extreme stability and regularity. An image of a beautiful crystalline tower with perfect twenty-four-point radial symmetry builds itself facet by facet in the air, starting from the ring of stones and proceeding inward and upward. When it's well past the ceiling, she thanks the rook and the vision fades.
"Did that work as well as it looks like it did?"
Rook! Don't you just dream of perfect calm and quiet? Yes you do. Well, Castle is here to help. Be serene. Be sturdy. Be clear.
There isn't even an image this time, just a sense of stillness in the air. Castle thanks the rook.
The harmonics outside the circle are mostly unaffected - the patterns have smoothed out a tiny bit, maybe - but the harmonics inside the circle are now perfectly flat.
"The circle is important too. And the rook might not work so well for you, although you do have a pretty strong rook association so it's not completely hopeless. Still, being able to get usefully uniform harmonics in two minutes with a bag of glass pebbles and a rook is better than not being able to get them at all, isn't it? The geometric surface wouldn't be strictly necessary for this one as long as you had the pebbles laid out in a reasonably uniform circle with the rook in the center."
"...It may be," she says. "I've never felt the temptation myself, but I've heard of cases. It can get pretty bad, and I don't have a good way to judge your particular risk. The sort of thing where either you'll be completely fine and never have to worry about it, or you'll be in big trouble, and there's no good way to know ahead of time which option you'll get. I wasn't thinking about it, but only because it's never been a problem in my tradition, and that's not all there is to it."
"The only effective treatment I've heard about is to never use magic again," she says. "Which I guess wouldn't be so bad starting from a position of never having used the relevant kind of magic before, but you might be in especially big trouble if your own magic turned out to retroactively become a problem, and I have no idea how likely that is..."
"I've been thinking about that," she says. "You might want to nominate someone else to test it for you, because it can be hard to reverse a well-cast chess magic spell, and it has occurred to me that a spell to see harmonics might not be able to function while leaving them unchanged, and you might not want to go around constantly scrambling harmonics in your vicinity even if it let you see them."
She begins to construct a spell layout with eight points. Four wooden rooks and four metal rooks in an inner ring, each with its corresponding bishop holding a spot in the outer ring. A lot of those clear glass pebbles. Four glass bishops and four glass knights, on points between the inner and outer rings; numerous glass pebbles covering other places in the diagram. Promise is directed to sit in a particular spot between the inner and outer rings; Castle sits in the corresponding spot on the opposite side; Tea gets the center spot.
Castle begins describing a spell-narrative.
Here is a far-seeing traveller, knowledgeable and wise, with sharp senses and a keen mind. Here is an invisible landscape, its existence known to few, its features understood by fewer. But that can change. He can learn a new kind of sight.
Visions take shape around them, showing the harmonics of the room as they currently stand...
...and then flaring and warping into a spiky crystalline structure. Castle keeps talking, but frowns slightly. The structure shifts faster and faster as she speaks, blurring and warping in places. She offers a diplomatic suggestion that seeing and changing should not be the same, but the spell is having none of it; after a few more sentences she thanks the glass pieces for their help and ends the spell. The sharp-planed tangle of visible harmonics fades from the air.
"Well?"
"I'm starting to feel a little like I've taken regrettable doses of hallucinogens," Tea says dryly.
"It's possible I could fix your problem somehow, but I wouldn't want to try it immediately," says Castle. "It's always possible that the effect will settle down if we give it some time, and if that does happen it'll be easier all round than trying to cast more spells to fix what the first one broke."
"Good morning," says Tea. "This is Arcane. He says that he is the Queenscourt's best sorcerer, that we have a hundred and ninety-two days before anyone comes looking for him, that I am outrageously good at crafting orders for a mortal but that he could likely get away from me eventually if I started letting him do things, that he found your gate over the Valley Continent because he can sense harmonics, and that if I hadn't overpowered him he would have been compelled to conquer the planet because a mortal world where sorcery can be done is a nearly unparallelled threat to the Queenscourt. He is currently permitted to breathe and nondeceptively speak. What do you suggest I do with him?"
"Several possible courses of action are open to me," he says. "But the fact that gates can be made to Fairyland from an external location means that the Queenscourt's interests are best served by immediately conquering that external location, and since I can't plausibly escape the Queenscourt, I must end up conquering one or the other. The Queenscourt is tolerably comfortable but I have no desire to take over an entire planet full of presumably innocent mortals for its sake. On the other hand, conquering the Queenscourt is not exactly a trivial proposition even with the ability to gate in from outside and the names of several prominent court members."
"He did not. He has been admirably security-conscious given his inexperience with holding hostile vassals, and has striven to avoid giving me any unnecessary information whatsoever, no matter how benign. I had no direct indication that you existed until you came through that second gate."
"I don't have enough information to know whether or not my long-term interests are aligned with yours, but evidence suggests they may be," he says. "If you are as generally benign as you appear, I would happily cooperate with you even given complete freedom. If my tentatively positive assessment of your motives is substantially flawed, you are best advised to turn me into a small animal and keep me in a box."
"Having avoided attracting her attention since I started I don't have a lot of details on how she actually runs things but if books are anything to go by I am infinitely more opposed to torture. Speaking of which, the phrasing 'you may without extraneous action or violent motion assume and remain in a sitting position' is probably fine."
"She is extremely effective at enforcing only and exactly the sort of good behaviour she cares about while leaving people otherwise free. There are some prisoners kept in conditions such as eternally drowning in a bowl of water, and she sometimes uses torture as a deterrent to bad behaviour, but she does not use torture for entertainment or encourage her vassals to do so. She is very standoffish even with highly valued vassals."
"I'd want a while to draft a good order set. I'm sure I'm not as good at it as the Queen is and I'd want to consult with you. And it depends on the margin by which working for me beats being turned into a small animal and kept in a box. But it's possible you could tell me a compelling enough story about your motives that I'd require no other limits at all. I would want your name, though - not that your help is not appreciated, Tea."
"The truth of my statements is perfectly verifiable to you, but the reverse does not hold. I can't know that you are not spinning some unreasonably complex web of deception unless someone involved in this mess gives me their name, which you have no good reason to do. It follows that it is not in my interest to make any tangible non-hypothetical concessions, such as volunteering my name, while I am still under restrictive whitelist orders and do not have the option to flee if you turn out to be deceiving me in some importantly relevant way."
"We could try to work out some kind of conditional permission which would permit you to put your ears out and get away as best you can under some circumstance, but we'd have to agree on a circumstance and how you would have to verify it and you'd have to trust that it was an enforced permission."
"Yes. I am experiencing some temptation to take the stance that if you cannot bring yourself to free me completely without asking for my name, you should turn me into a small animal and keep me in a box because that way at least when you fail to conquer the Queenscourt I will not have voluntarily betrayed it. But then I would likely still end up obliged to conquer some fraction of the mortal world to prevent further attempts like yours, and even if I in particular did not have to, someone would. That is not a desirable outcome."
"By insane coincidence, I currently have the Queen's best sorcerer in Tea's crypt under orders. I would like to secure his willing cooperation and could use a character reference from someone who can also pluck a hair from my head and demonstrate that they're not being ordered about it."
"About your personality and motives. About the goals you're trying to accomplish. Or miscellaneous things that might affect how I see you," she says. "I've heard you may be trying to assail a palace, and you don't seem like the sort of person who would assail a palace for trivial reasons, but I don't actually know whose palace it is or why you want to assail it and that seems like relevant information for this purpose."
"It's the Queen's palace. She is... not the worst of all possible masters, but she isn't good, except in the sense of being skilled. It doesn't matter if someone wants to work for her or not because she can have anyone she wants; and if someone tries to betray her or annoys her personally she resorts to torture; and she leaves worse masters who don't happen to interest her as vassals to run rampant on their own."
"And if I can get the Queen she can be used to keep everyone else. She's unique in having the property of knowing fairies' names so I wouldn't really be able to let her go if I wanted to do anything much, but everyone else in her court - including her best sorcerer, who seems broadly willing to help me given enough reason to believe I am who I seem to be - would be better off for it."
"I think I'm interested in helping you accomplish this goal," says Royal. "And Sunnydale's most recent disaster has been taken care of - did you hear me talking to my Watcher about the woman who was stealing her daughter's body? We fixed that - so I'm between immediate projects."
"I have noticed you doing exactly nothing with it," she says. "Which is promising. And you might not have heard, I wasn't sure. But it was an opportunity for you to demonstrate good faith, and you did. It is much easier to cooperate with someone when I don't strongly suspect them of concealing a major advantage over one of my closest allies."
"I would have mentioned it before any plans were put in motion that involved me getting anywhere near the Queen or anyone else who could plausibly order me, because then such a person would have had all the names I know out of me in a heartbeat. Arcane is locked down for now but very smart, so I suppose if he changes his mind about working with me and gets the drop on me it could come up then too. I have no designs on your Watcher. I was just paranoidly enjoying one more person no longer being in the ranks of those who could if they so chose hurt me."
"And I'm willing to take the risk. Arcane's in a more awkward position because he's much too dangerous to let go, so he's basically choosing between joining my revolution or being turned into a small animal and kept in a box, but he doesn't seem innately horrified by the former option."
"I am afraid that I will agree to help conquer Fairyland, be given insufficient freedom to ensure the success of the effort, fail, and then the Queen will send me or her next most effective vassal out to secure this entire mortal world so that no one can ever use it to gate into her court unexpectedly."
"I had thought the parallels would be more obvious," he says. "The conquest of this world, like the conquest of the Queenscourt, would have been a complex and difficult task with negligible room for error. The Queenscourt order set is exquisitely well crafted to avoid interfering with itself, and even so, if I was required to do something this difficult to the best of my ability, that would necessarily include being under no other orders for the duration of the task."
"But obviously I can't just order you to prioritize conquering Queenscourt and handing it to me, or it would result in you taking the most effective option; and you can see why I might not want to have you running around with no orders whatsoever when you've been comfortably working for the Queen for who knows how long."
"I understand that my ability to work comfortably as a member of the Queenscourt is not favourable evidence about my character, but more direct evidence is available. On practical grounds, my free cooperation is a more effective resource than my constrained assistance. In most respects you appear to be the sort of person I want in charge of the Queenscourt and therefore the sort of person I would freely cooperate with. But rather than being interested in determining whether you can trust my free cooperation and then asking for it, you appear to instead be interested in convincing me to willingly agree to be your tool of conquest rather than the Queen's."
"You may determine if you can trust my free cooperation by asking," says Arcane. "I have no knowledge of your criteria. But I am entirely capable of predicting how and under what circumstances I might change my mind. It is overwhelmingly unlikely that I will abandon cooperating with you unless you turn out to be secretly malevolent, or you fuck up the conquest of the Queenscourt so irreparably that the only sensible option remaining is to flee as far and as fast as possible."
"I can arrange for us to get our hands on a lot of mortal magic, potentially," she says. "Besides just what Castle can manage, which is already a lot. I think I'm going to start looking into unusually effective, flexible, useful, and recent magic systems - see what I can add to the toolbox, and see if I can catch any inventors like Castle who might be inclined to help out."
"Well, the chess magic is something Castle invented. Because you can just do that. If you're willing to risk many horrible side effects, but from the looks of things thousands of people who have incompatible aesthetics and philosophies and hobbies and languages and so on have all done it without much regard for prior art."
"One of the possible side effects is becoming addicted to the magic. Castle is going to try to find someone who is already addicted to teach to make fairylights to see if this condition affects one's dispositions towards sorcery too, else I don't dare actually try any."
"Uncertainty about that is one of the reasons people are reluctant to try it," he says. "An informed local conspiracy might decide to silence them. A previously uninformed local conspiracy might react poorly to the revelation and become hostile to them in any of a variety of inconvenient or hazardous ways. Previously uninformed non-conspirators might react similarly."
"I think you may be overestimating the degree to which anyone consciously assesses the risks," he says. "My personal reasons for not having gone public include the fact that I don't have a good reason to try it in the first place and the fact that it observably hasn't happened despite the lack of overt obstacles."
"My advice is that you refrain from blatantly announcing the existence of the supernatural to mortals until you anticipate some direct benefit from doing so. I don't know that there is some covert obstacle that might get in your way, but I don't know that there isn't, and it seems plausible, so it's worth waiting until you'd get something out of it that might make up for whatever unknown inconvenience would befall you."