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blood sweat tear [sunnydale]
Promise in Sunnydale
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He's moving her to a different court to see if it'll improve her attitude. She's allowed to fly. It's been a long, long time since she was allowed to -

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.
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The location where she crashed is a grassy area populated primarily by a semi-regular arrangement of small stone monuments adorned with impenetrable mortal inscriptions such as SOPHRONISBE ALPERT 1908-1941. There are also occasional trees, and larger stone buildings between those.

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.
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She looks at him. She can't really do anything else, can she.
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"Good morning," says the mortal. (It is night.)

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Okay, she can also look up at the sky. Which is dark.

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"Is there a particular reason you're in front of my crypt?"

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Yeah, but she can't tell you because you're not a member of her master's court who fits the criteria for someone whose direct questions she has to answer, dude.

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"Oh, so it's like that, is it?"

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So it's like what?

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He sighs.

"Are you, by any chance, in need of assistance."
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Blink.

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"Was that a yes?"

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Blink.

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"Good enough for me. Would you like to come into my crypt? It's not well furnished but it will prevent my neighbours from stumbling across you and deciding you'd make a nice snack."

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Blink.
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"Come in, then. Unless I'm going to have to carry you...?"

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Blink.

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He sighs again.

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.
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Blink!

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He pours; the kettle was already hot. "Tea now, or tea in ninety seconds at a less painful temperature?"

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Blink. (When he says 'now'. The water's not actually boiling, she's had worse it'll heal -)

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The mortal shrugs. He brings over the mug and arranges it in a drinkable configuration relative to her face.

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Promise opens her mouth.

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Technically-non-boiling tea goes in.

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It's hot. She swallows it anyway.

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He inputs the entire mug of tea and then stands back and regards her.

"No doubt there is a next step to this puzzle."
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Blink.

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"Wouldn't it be nice if you could tell me what it is."

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She opens her mouth again, just a little, but nothing comes out.

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"Hm," says the mortal, regarding her thoughtfully.
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"As much fun as this little interlude has been, do feel free to give the answer away."

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Does that -

She opens her mouth and this time sound comes out.

"I'm under heavy orders and I can mostly only do things you tell or permit me to do."
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"Well, that's annoying."

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"And will it solve this irritating puzzle if I permit you to do whatever you like?"

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"Yeah," she breathes, suddenly relaxing and starting to cry.

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"Lovely."

He sits on the floor and pours himself a cup of tea from the cooling kettle.
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Promise does not intrude on his tea-ing. She just cries softly.

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He sits. He drinks his tea.



He says, unenforced, "Want to talk about it?"
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"I - I - had a bad master. Went through a tear. Now I can't do any sorcery I suppose and I don't know if I'll ever see my tree again but at least he doesn't have me anymore."

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"Well. Welcome to Sunnydale. Is this orders business a property of you in particular, or of the entire place you came from?"

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"Of fairies."

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"Fairies, that's a new one."

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"There's lots of kinds. I've met a mortal once before, but it was years ago."

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"Do I qualify as mortal in this context?"

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"Unless you're missing your wings, yes."

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"That I am flightless is not in dispute."

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"Then yes, you're a mortal. As far as I know it's just fairies and mortals. Are you an unusual kind of mortal?"

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"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."

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"Oh. I didn't know mortals came in nonhuman. But if you can die you're a mortal."

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"That isn't how the categories are structured around here."

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"Okay."

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He shrugs. "But perhaps you're not interested in the local taxonomy."

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"If I'm going to be stuck in the - what is usually called by fairies the mortal world - for the foreseeable future I might as well pick it up."

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"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."

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"Earth is the round thing, right?"

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"It fits that criterion, yes."

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"What makes someone properly a demon?"

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"It's... an aesthetic judgment as much as anything," he says. "But there are practical implications. Demons as a category have a reputation for being likely to try to eat people, which reputation you might want to dodge by introducing yourself as a fairy instead."

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"I don't want to eat people."

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"Neither do I; it's so tedious."

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"...That wouldn't have made my top three objections."

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"Oh?"

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"The thing that made you able to alter my orders applies if I eat anything from anyone except, usually, other fairies; I prefer to eat plants; and I have moral objections to preying on sapient creatures."

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"I was forcibly deprived of my capacity to morally object to things. Comes of turning into a vampire."

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"Oh."
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"I get by all right without it," he adds. "It's not in my top three objections to the incident."

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"Mm?"

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"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."

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"Oh. I'm - I'm sorry. ...Following me around and feeding me so I don't wind up envassaled to more people than I have to be probably isn't interesting, is it."

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"Depends."

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"On?"

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"Principally on how interesting you turn out to be."

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"Well, I'd be very boring for at least a few weeks if I had all the things I'd need to be boring with, but I don't really have that luxury. I don't know your interests, though."

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"My interests are not especially articulable."

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"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."

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"What are the characteristics of sorcery besides not working in the mortal world?"

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"Well, I can heal with it, for one thing. Lights. Growing plants."

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"Those are all things local magic is able to accomplish."

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"Maybe I should learn it, then. ...Maybe the books are systematically wrong for some reason, how would I know, I've never been here before -" She glances around the dim little crypt, then -

- makes a light, dim and flickering.

"...huh."
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"The fact that you have heard of a mortal world but haven't heard of any kind of demon leads me to suspect that the mortal world you have heard of isn't this one."

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"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.

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"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."

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"Well, I don't know how often humans go to Fairyland and then go home again."

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"But then there's the part where sorcery allegedly doesn't work in the mortal world."

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"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."

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Giggle.

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"These patterns don't make sense. There are some weird tangly ones, but these are... weirder than that. I'm not going to be able to heal myself until I map this whole room. Do you have a smaller room I could map instead?"

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"This is the smallest room in this crypt, unless the coffins upstairs count."

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"The what?"

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"Approximately person-sized box for storing dead humans in. The actual dead humans are long gone from mine."

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"Oh. Well, that's probably smaller, but not really practical if I want to ever cast anything else. I'll just map the room."

She makes more grids of lights, muttering in bewilderment at them.
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The vampire sits and drinks tea. He gets out of her way if she looks like she wants to map his tea-drinking spot; it's not like it has any material advantages over the next patch of floor.

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She'll get to his tea-drinking spot eventually, but this is a tedious process and she doesn't need to start anywhere near it. "Do you have paper?"

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"I could acquire paper."

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"It'd be useful to write this down. I could usually memorize the map of a room this size, not in detail but enough to work, but not with the harmonics being so loopy."

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"Suppose I'll go find some paper, then." He puts down the empty mug and gets up.

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"Thanks."

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Shrug. "No trouble."

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.
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"Thanks." She inspects the goods, seems absolutely delighted by the graph paper, and uses that to map the room.

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Map map map map. "The roundness means there's a day cycle everywhere all the time, right? I don't intend to keep you up whenever you prefer to sleep."

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"Yeah. I sleep during the day, usually; vampires catch fire in sunlight."

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"That sounds... inconvenient. I wonder why. Do you think you would do that if you were invisible?"

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"Good question. Might be fun to experiment," he says. "Well, not if I caught fire, but I could put it out afterward. Why, can you turn people invisible?"

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"Yeah. These harmonics might mean it doesn't last until I undo it, so you'd want to stay near shade even if it works perfectly in case it shredded sooner than later, but once I have this room figured out that's one of the things I can do."

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"That seems potentially convenient."

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"Well, it might or might not help with the sun, but yeah." Map map map.

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Shrug.

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"How long until you usually go to bed?"

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"About six hours."

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"That's probably enough time to map this whole room." She gets back to work.

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He keeps out of her way and is amused by the struggling lights.

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Promise systematically grids the room in columns, writing down her findings in bizarre symbology on page after page of graph paper. It's surprisingly compact.

She's in the last corner by bedtime. Her stomach is growling but she hasn't mentioned food.
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"What do fairies eat?"

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"Plants. I'm not picky and wouldn't recognize any individual plants here either. I can't chew solid wood."

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"I can provide plants and things made from plants," he says. "Should I go shopping again before sunrise?"

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"If it wouldn't be too much trouble yes please."

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Shrug.

Off he goes, returning fifteen minutes later with another big cardboard box, less clearly labelled. It is full of plants and plant derivatives.
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"This would be a good time to decide if you're going to be feeding me or if I have to get used to risking claims from every mortal who's ever interacted with that food, the land it's grown on, and the water it's grown with."

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"I suppose I'll be feeding you, then. Unless there's some clever alternate solution available."

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"If I vassalize someone first, I can take food from them without it being a problem, but I don't exactly have candidates lined up."

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He shrugs. "So it seems like the most convenient option all round is me feeding you. Fine."

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"Thanks."

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He makes a noncommital sound and extracts a plant from the plant box to feed to Promise.

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Nom.

"I'm Promise, by the way, I hadn't mentioned."
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"Sherlock."

Click.
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She relaxes a little bit but doesn't say anything immediately. Nom.

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Plants and plant derivatives.

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Eventually Promise isn't hungry anymore.

She blurts, suddenly, "Don't order me -"
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"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."

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"I suspected as much," he says. "I'm not going to copy your order; the design doesn't agree with me."

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"Is there a different one you'd like better?"

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"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."

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"Permissions are in general beneficial to my interests."

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"But are you relying on me to reliably know that? Whose assessment of my assessment of your best interest is operative here?"

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"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."

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"Weren't you? But you have clearly observed that the entire system is new to me."

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"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."

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"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."

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"I probably would have left it at the simple version if you didn't seem to have at least a passable set of defaults based on the last several hours."

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"Fair enough. But it still doesn't sit right with me aesthetically."

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She shrugs. "How about, 'never give me a non-permission order except as requested by me of my own uncommanded will'?"

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"Eh, I'll think about it."

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"Well, you've gone and made me nervous, so consider my original phrasing replaced by the more recent."

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Snort.

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"There's just the one bed, isn't there. Will there be some sort of horrible danger if I just go sleep in a tree outside instead of on the floor?"

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"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."

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"If somebody tries to eat me they won't get very far, but I suppose if you don't object I'll sleep indoors."

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"They won't?"

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"Vassals can't harm their masters."

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"If I were you, I wouldn't rely on that holding for any given variety of demon until you actually see it demonstrated," he says.

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"I suppose that makes sense."

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"Anyway, you can sleep in my crypt or you can take your chances outside, whichever you prefer. And if you prefer bed to floor, feel free."

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"You don't prefer bed to floor? It's your crypt."

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"It's my crypt, but you're my guest. If you continue being my guest I suppose I might have to get a better-furnished crypt."

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Promise looks at the bed, then says, "Thank you," and flutters into it and flomps.

She has learned to fall asleep quick when she has the chance.
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Sherlock does not disturb her sleep. Nor is she interrupted by hungry demons of any kind.

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Then she will sleep for ten and a half hours.

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And at the end of ten and a half hours, Sherlock will be sitting on the floor, quietly drinking tea.

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She yawns groggily awake, mumbling to herself.

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"Good morning. Well, technically it's late afternoon."

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"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."

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"Oh, go right ahead," he says.

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"It might take any amount of time to settle. Days possibly," she mentions. "Where should I make it so that if it settles while I'm not paying attention you won't stumble into it? I don't actually know if you can get into my tree that way but it's not impossible."

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"Can it be put anywhere? Why not there?" he asks, pointing to the wall at the head of the bed. "I don't make a habit of climbing onto my bed and walking directly into the wall."

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"That's fine," says Promise, and she consults her map for a few minutes before finally saying, "There. Not an instant settle though."

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"Oh well."

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"Oh well. Can I have breakfast?"

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"Sure."

Plants and plant derivatives!
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Nom.

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"Vampires don't actually eat food," he mentions. "We drink blood. Not yours; you don't seem to qualify as an animal for this purpose."

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"We don't have animals in Fairyland to speak of. Are they hard to catch?"

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"Not especially."

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"Had you already caught one when I came through the tear last night?"

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"I don't actually catch my own animals, I steal containers full of animal blood. Less tedious that way."

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"Oh, okay. I guess stealing food doesn't have the obvious problems for mor- for non-fairies."

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"Indeed."

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"What else do you do with your time?"

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Shrug. "In what context?"

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"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."

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"Oh. Hm. I could show you a library or two. Hellmouth optional."

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"A library could be interesting."

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"Options include the school library with informative material about magic and nonhumans, and the public library with no such material."

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"The... school library... sounds obviously better then."

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"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."

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"Oh. What kind of mischief?"

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"The destruction or conquest of this planet, generally speaking."

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"...Are they ever any good at that?"

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"Well, the planet remains intact and unconquered. Sometimes that's because the people trying are incompetent, sometimes the defenders of the status quo get ahead of them, and I suspect once or twice it's come down to sheer luck."

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"How frequently are attempts made?"

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"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."

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"I think I can put up with that level of hazard to find out about local magic. Especially given that not everyone who wants to do mischief is necessarily an immediate hazard to me personally."

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"Reasonable. Local magic itself also possesses a hazard or two but given your described characteristics I don't think you'll have too much trouble with those, and you're unlikely to run into anything nasty just reading about it."

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"Hazards like what?" wonders Promise.

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"Unwanted attention from hostile entities. The chance of getting addicted to the magic itself."

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"Sounds inconvenient. I'll read up anyway. Lead the way?"

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"Sure."

Off they go to break into Sunnydale High.
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Promise peers curiously at all the things they see on their way.

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Streetlights! Graveyards! Buildings! Roads! Cars! Graveyards! More, different buildings! Fire hydrants! Parks! Actually no that's another graveyard!

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"What are all the stone arrangements for?"

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"Marking the locations of buried dead humans."

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"...Why?"

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"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."

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"Huh. How do those lights work?"

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"Non-magical local technology. I can find you a book on it at the library if you want a serious practical explanation."

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"It's not a high priority, especially if it's complicated. What are these buildings made of?" They are made of vinyl siding.

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He glances at them. "The stuff on the outside is plastic, which is worth a book or two all its own."

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"I don't think we have it in Fairyland."

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"I am unsurprised."

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"I'm guessing the things with wheels that contain chairs are for moving people around in somehow, because mortals can't fly."

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"Got it in one. Most of those are cars; the variant over there is a van. I used to know someone who could tell you lots more about them but he's dead so it's down to the books again."

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"I don't need to know a lot of details about cars. Wheels would have a lot of trouble most places at home and I can fly."

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"Humans have flying vehicles too. Those might be more exciting."

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"I'm sure it's very exciting for people who can't fly. I have no wish to be cooped up unable to feel the air when traveling from place to place."

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"How fast would the prospective vehicle have to go before you'd put up with it?"

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"Oh, I don't know, considering that sorcery's possible here it's probably more efficient to just make a gate to anywhere really far away I'd want to go."

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Shrug.

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"How fast are they? I can do about seventy miles an hour, more if I'm really trying."

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"Upwards of fifty times that, for the fastest ones."

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"Wow."

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"Humans are a fairly well accomplished bunch."

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"What else can they do?"

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"Cure or alleviate a steadily increasing variety of ills, kill each other with impressive efficiency, sustain more or less stable nations of tens or hundreds of millions of people, and that's all mostly without magic coming into it."

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"That's a lot of people."

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"Yes."

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"Fairies don't live in groups that large. Even the Queenscourt isn't that big."

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"The planet is a finite size and the population is growing. It's not practical for humans to avoid forming large communities indefinitely."

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"Well, the fairy population grows, but I think much more slowly. And occasionally we do move to get farther away from each other."

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"Anyway, here is the school."

And here is Sherlock casually breaking into it.
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Promise is a little confused by the rigmarole associated with entering the building but doesn't comment on it.

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So neither does Sherlock. And they proceed through the darkened halls to the library.

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It has so many books! Promise flutters about, inspecting the books.

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Sherlock turns on some lights so as to make the books easier to see.

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.
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Promise goes and looks at what he's pulled. "The organization system is weird," she comments.

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"Oh?"

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"Some of it seems to be by topic, and it's grouped by author but the authors seem to be in random order."

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"What?"

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"The word you're looking for may be 'alphabetic'."

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"I'm never going to be able to figure that out."
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"Why not?"

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"Well, I suppose you could tell me what order the symbols go in, and then I could memorize that, and then I could squint at all the titles, but... I'm not sure it wouldn't be faster just to read all the spines."

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Shrug. "As you like."

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"I'm not actually speaking your language, in case that wasn't clear, I'm just plain speaking."

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"It was obvious that something more complex must be going on than you just happening to natively speak English; it wasn't obvious which of the many possibilities was operative."

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"Oh. Well, now you know." And what books has he pulled out?

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Here is a book about vampires. Here is a stack of books each about another common variety of demon. Here is a book about recognizing and thwarting dark rituals. Here is a book about potionmaking. And there are more where those came from.

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Potionmaking sounds interesting! She picks it up to have a look.

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It's kind of obscure. A lot of assumptions about the reader's knowledge level. Also about the reader's easy access to sources of animal parts. Sherlock reads along upside-down and seems amused.

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Once Promise has a general idea of what the recipes look like she skims for the results of each without bothering about how many porcupines she would have to deprive of their quills or how much marrow she would have to scrape out of a live sheep.

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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'.

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"Most of these are not very practical," she observes.
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"Hmm?"

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"Except for removing a curse if someone used one of the other recipes, I can't imagine wanting any of them. Maybe mortals have discovered extremely useful liquids of some kind that need multiplication."

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"I can think of a few. If I were somewhere that animal blood was very scarce, I might like to have a flask of liquid-multiplier on hand. But yeah, a lot of old magic is primarily concerned with doing nasty things to one's enemies."

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Promise puts that book down and opens the one about dark rituals.

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Dark rituals are primarily concerned with doing nasty things to one's enemies! The book offers a variety of signs that a dark ritual may be going on nearby, recommends several effective ways to thwart one, and advises that you do so anonymously if possible because the kind of person who does dark rituals usually doesn't appreciate being interrupted.

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.
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"Rather. Goodness."

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"It's good advice, if you ever plan to get on the wrong side of the sort of person who does dark rituals."

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"And I guess for this purpose 'Promise' in fact counts as my name."

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"Yeah. If there's any fairies you'd like to curse with unspeakable harms, and you know what they call themselves and can draw a reasonably accurate picture of them, I'm sure I can come up with a book on how to do dark rituals."

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"That a yes?"

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"I'm trying to figure out what would happen to the court structure if I incapacitated Thorn. I don't know if Blossom could hold it together, how it would fracture if she couldn't, or whether she'd be any better than him if she could."

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He shrugs. "Can't help you there. ...Although if you want to spy on them, this is also doable with magic and the requisite books might even be in this library somewhere."

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"...Might help. But only so much. I didn't have a privileged view of the social relationships but I saw plenty and I think Blossom's basically brainwashed and don't know how she'd jump without him. Maybe Rainfall - I don't know."

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"So, books on scrying, yes or no?"

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"Yes."

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He searches for books on scrying.

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Promise, meanwhile, investigates the other books he pulled.

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Well, would she like to read about vampires? Incubi and succubi? Assorted other varieties of demon? Or perhaps this book on the history and nature of magic mirrors?

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Her native guide is a vampire; she may as well skim that book.

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...Being a vampire looks really inconvenient!

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.
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"What's holy water?"
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"Why do you ask?"

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"Because I don't know what it is. I don't know what souls are either, that was going to be my next question."

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"Holy water is water that has undergone certain rituals conducted by a properly authorized individual. A soul is a metaphysical property of humans and if you take it away, significant pieces of their personality go missing, usually the nice bits."

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"Why are their - personalities detachable...?"

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"The going theory is that the soul is somehow a prerequisite for having moral feelings, which seems stupid, but I don't have a strong competing hypothesis."

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"I'm not a human and have moral feelings. Should I worry about my personality detaching?"

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"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."

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"Has it been tried on fairies?"

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"I expect you'd have trouble with the middle bits even if for some insane reason you qualified as human for the purpose."

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"Middle bits?"

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"Dying. Drink some vampire blood, become drained of all one's own blood, die, wait: this is how one becomes a vampire."

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"Oh. Yeah, I can't do that part."

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"And if you're not human enough to eat you're definitely not human enough to turn."

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"I'm not sure how that part follows, but if you say so."

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"I don't know everything about being a vampire but I do know that."

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"Are there less common ways to detach souls that I should maybe be on the lookout for?"

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"I'm sure it's possible to do it. I can't think of a reason why someone would try that in particular on you as opposed to some more straightforward magical attack if they were interested in attacking you in the first place."

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"If they found out how immortal I am," she suggests.

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"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."

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"Ah. ...I have no idea what unquenchable flames would do to me. I've never actually been burned down to nothing before and don't know what would happen except that if killing a fairy were that easy we wouldn't consider ourselves immortal."

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"If you ended up on fire for the rest of eternity this would probably still be very inconvenient even, perhaps especially, if it didn't kill you."

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"Well, maybe I could figure out how to make the uncursing potion even if I was on fire at the time."

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"But probably not if you were also a stone rat."

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"That would admittedly present more of an obstacle."

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He snickers and goes back to searching for scrying-related texts.

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She puts down vampires book and picks up mirrors book.

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Mirrors book actually has an entire section on scrying-related mirrors, but it has nothing on how to make them, so it's not very practically useful.

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.
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What an interesting array of mirrors. Does it say how to make any of the non-scrying kinds?

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The demon-bound ones presumably involve binding a demon, but it doesn't actually say how to do that, and it doesn't go into even that much detail on how the rest were made.

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."
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"What a strange property."

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Shrug. "It's supposed to be related to the soul thing but I think that's a fable."

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"I assume rocks don't have souls and they have reflections."

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"Yes."

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Promise shuts the book and reaches for the scrying one.

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He found three. He hands her the one on the top of the stack.

It contains actual practical scrying instructions and you don't even need to disassemble any animals!
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Hooray! What do you need to do?

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That depends on who or what you are trying to scry and how you are able to identify said target.

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.
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"Why do you think that?"

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"Assorted demons can use magic just fine and unless a picky god gets involved or someone has an applicable type of innate magic they can cast all the same spells as humans."

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"I don't think my kind magic ought to have anything to do with it... okay."

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"Going to try spying on anyone?"

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"I'm not sure where I'd get most of these things."

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"I could acquire them for you."

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"Then yes, I will try spying on Thorn at least once."

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"Won't that be fun."

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"No, not really."

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Snort.

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"But it'll give me an idea if during moments I never had a look at there are clues to how people other than Thorn in the command structure would run things if they wound up the ranking non-incapacitated member."

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"Yeah."

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"But maybe it won't help or nobody who could take over would be any better. I could probably cripple the entire court, but you saw the kind of orders I was under...."

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"Yes. There might conceivably be a scrying spell that could get you someone's fairy-relevant name, and I suppose if we're considering incapacitating most of the court already I could flood the place with tea... at last, a practical use for the multiplying potion!"

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"That involves getting close. Thorn is very smart. I don't want to try to hit him with anything he could conceivably see coming."

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"Well, I wasn't thinking of pouring barrelsful of tea over anyone without first turning them into flaming stone rats or similar. I suppose a flaming stone rat probably can't drink tea. There is room to refine this concept."

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"I don't have even nicknames for some of the lower levels and other satellites of the court."

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"Very thorough spying might take care of that for you," he suggests.

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"Yeah, it would."

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"But if there's another plan you like better, it's all the same to me."

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"There's probably no tidy way to bypass Thorn and get the Queen..."

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"Mm?"

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"Well, she's got a well-known nickname, but I know dramatically less about the structure of her court and it'll be several times larger and she'll have every contingency all the smartest fairies in the world can have thought up for her."

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"Exciting."

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"So I'd have to spy on her a lot. It's probably worth doing."

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"Can I help? It sounds like fun."

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"Why not. There's no reason to expect I'll be able to get the Queen's name and I only might be able to feed her myself."

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"Whereas I can apply barrelsful of tea to anyone I like?"

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"More or less."

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"You can also amass local minions fairly trivially," he adds. "Very few people guard their birth names closely in this day and age. Up to you whether you have moral qualms about conscripting a demon army, I suppose."

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"I'd want to make sure I was equipped to treat them decently even if I supplied myself exclusively from the ranks of the soulless and morally deficient, which currently I'm short on resources to do."

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"Fair."

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"Bit of bootstrapping to do."

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"In what sense?"

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"Well, right now I have - myself, and your help. And I am planning to conquer Fairyland, which I will need more than that to do."

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"Mm. I think I have a different view of what it means to have my help."

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"Oh?"

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"Or a different view of the concept of bootstrapping. I just don't feel that it applies to a situation where so many of the strongest options for gathering more resources are so trivial to accomplish."

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"If you like. Still, I will not rule Fairyland this week."

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"True. Probably. Might depend how urgently you want to rule Fairyland."

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"Not very. It's important, but it's been important for a long time."

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"Then you might as well wait. I'm in no hurry, certainly."

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"Well, I'd rather it get done before some sort of accident inevitably befalls you as the years pile up and you succumb to your slightly reduced mortality, but it's worth taking the time to get right."

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"It's not going to be an accident."

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"No?"

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"Murder or suicide, I'm not sure which. But it would take a hell of an accident."

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"One would happen eventually if nobody including yourself got you, but I'll take your word for it on the relative risks."

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"'Eventually if nobody including myself got me' is precisely the thing that isn't going to happen, yes."

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"...I will make sure to have backup mortals securing my control of the Queen, I guess."

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"There's some distant chance that something will manage to catch my attention in a permanent enough fashion, but then I'm also pretty likely to seek out better forms of immortality."

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"Like what?"

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"There's a legendary artifact that makes a vampire impossible to kill while they are wearing it. As the first example I can think of."

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"Why would someone make that and then permit it to fall into obscurity instead of wearing it?"

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"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."

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"Ah, I see."

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"But if I dug it up I'd expect to keep it a while."

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"Does it only make you immortal to the degree a fairy is or does it also protect you from the things that normally would kill you outright?"

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"Not specified."

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"Well, I'll probably want backup mortals anyway but that would be helpful."

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Shrug. "I'll happily find and wear the Gem of Amara for convenience's sake while the conquest of Fairyland is ongoing, and if I decide to set myself on fire afterward I'll give you advance notice."

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"Thank you."

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"It's no trouble."

He picks up the book on vampires and starts flipping through it in search of relevant legends.
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"It sounds like a lot of people would want it, so if it's missing it must be hard to find; how long do you think it'll take you?"

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"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."

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"Attractor of supernatural phenomena?"

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"Things related to magic and demons and so forth that could happen near Sunnydale as opposed to in some other location usually do. There are more places like that, but the Sunnydale Hellmouth is the most obvious one on this continent."

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"How does that work?"

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"I haven't heard a compelling explanation."

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"Well, why do you live here?"

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"I was curious about the Hellmouth."

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"The explanation doesn't generalize?"

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"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."

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"Yes, it's odd that my tear landed here too."

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"Your tear is indeed an example of the kind of thing that shows up around the Hellmouth more often than can be reasonably explained."

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"I'd like to figure that out eventually. But it's not urgent."

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"I feel similarly."

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"Any other mysteries that ought to go on the same list?"

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"...I'm tempted to say 'why is magical theory such a fundamentally insane subject' but it's hard to explain what I mean when you have so little experience with local magic. You'll probably start to get the picture after you've been researching spells for a while."

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"All right. It does seem less... neat... than sorcery already."

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"This impression is only going to get stronger."

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"I will anticipate it with trepidation."

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Giggle.

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Reading? Reading.

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Reading!

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.
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"How does anyone discover how to scry in a new way when it makes this little sense?"

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"And you begin to understand what I mean about magical theory. The answer, as far as I can tell, is 'they guess wildly and are rewarded in no sensible pattern.'"

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"How frustrating."

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"Indeed."

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"What happens when they guess wrong?"

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"Failure. Of wildly varying kinds."

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"Well, that sounds concerning. Do they get spells that do the wrong thing, or nothing, or just spontaneously die...?"

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"Any of the above."

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"Grand."

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"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."

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"I assume I would wind up inconvenienced in some way if I stumbled across something that would normally kill me."

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"A very reasonable assumption."

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"I'm amazed there's this much prior art if it's so dangerous."

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"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."

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"How much does the human population change in a few hundred years...?"

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"Between 1900 and 2000 the human population of Earth went from a little less than two billion to a little more than six."

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"This entire round planet will be overrun."
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"Yes."

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"Do they have some plan for dealing with that?"

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"There are multiple planets in the universe."

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"Oh. And they have those fast flying vehicles."

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"The problem of successfully conveying humans to other planets and setting up self-sustaining colonies there is not trivial to solve and has not been solved yet, but it can be solved and there's no reason to think they'll completely fail to get around to it."

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"That's reassuring."

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Shrug.

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"I was worried I'd have to eventually think of a safe way for mortals to colonize Fairyland."

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"If you do, I'm sure it will help. But it's not strictly necessary to the survival of the species."

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"I don't care about the species, just about the individual members of it. If they crowd each other to death that is bad even if some of them live."

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"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."

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"That makes sense. And conquering Fairyland is, if not easy, at least straightforward."

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"It does sound that way, yes."

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Reading reading.

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Books books.

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It's relaxing.

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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.

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She is interested in this topic! What has unsorcery got?

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Unsorcery has got:

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.
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"It seems like gates are preferable for most purposes, especially if I can get them to go to arbitrary demon dimensions should I wish to travel there."

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"For most purposes," Sherlock agrees. "But if we get our hands on some means of travelling between dimensions that doesn't have the settling-time problem but can get us to Fairyland, that could turn out to be very useful."

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"Possibly, yes. Better-timed assault on Queenscourt."

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"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."

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"I'd rather not make my stand against slave labor with the use of slave labor."

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"Well, that's fair, but it seems at least possible that you might be able to find more people who are interested in helping of their own volition."

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"Possible. I have... no personnel management skills that do not derive from watching Thorn."

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"And I'm not much better, but there's got to be some better solution here than 'oh, well, slave labour or nothing'," he says. "Further thought may be required."

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"Oh no. Thought."

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Giggle.

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"Are you anticipating getting some specific sort of use out of hell dimension residents as opposed to standard humans?"

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"Access to a wider variety of magical traditions. Assorted useful magical properties. Higher chance of stumbling across someone awful enough that you're willing to enslave them and powerful enough to be definitely worth enslaving."

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"Magical... traditions?"

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"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."

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"I think I like sorcery better, but it seems like the magic here can do more different things and from more flexible initial conditions."

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"I'm not familiar with sorcery and I'm only very broadly familiar with the local stuff, but that fits with the impression I've been getting."

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"I might offer to teach you if there weren't so much else to do and if it didn't take years to get anywhere very useful and if you weren't devoid of moral feeling and motivated entirely by boredom."

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"You might be surprised how little effect the lack of moral feeling manages to have," he says. "But I take your point about the rest."

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"I am very impressed with how little it is affecting things! But I do not know how permanent to expect this charming state to be."

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"Wait and see. I'm convinced of my stability but communicating the evidence seems intractable."

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"Just a little. We'll see."

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"And I'd better start putting these books away if I want to be back in the crypt before dawn," he adds.

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"Oh, I had quite lost track of time. Of course. Maybe my gate will be settled by now."

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"One can hope."

He puts away all the books exactly where he got them.
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And Promise flutters after him back to the crypt.

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Where they can check on her gate.

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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."
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Shrug. Plants and plant derivatives.

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Nom.

And home to her own bed in her own tree for the night.
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Time passes. Sherlock presumably sleeps. But when Promise comes back she will find him drinking tea again.

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"If I ever have to introduce you to a fairy and you haven't picked a nickname yet I will call you Tea."

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...He giggles.

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"I'm going to make a gate to another continent so I can plant my tree branch there and get food for myself," she says. "Where do you want this one? I can just put it right in front of the other if you like."

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"Reasonable enough. Possibly tricky for anyone trying to go through one of them from this side."

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"I wouldn't leave them both open at the same time."

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Shrug.

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"I wonder if you can reach through the gate into my tree if I don't actually say in words that you may."
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"It shouldn't be possible according to the usual operating parameters of vampires. Who knows how the gate or the tree factor into it."

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"My tree has a property that you can't get into it if I'm not meaning to let you, but meaning doesn't involve speech."

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"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."

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"Sure. It will be per tree, right?"

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"It's per home when the home is not a tree. Seems logical that it would be per tree when it is."

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"Okay then. Gate's open."

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Sherlock attempts to cross the gate. He is denied.

"So at least one of the possible obstacles is in effect."
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"Gate's open and I'm trying."

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Now he can enter the tree!
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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.

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Sherlock returns to his crypt.

"Well, that worked."
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"So it did. And now I'm trying to keep you out."

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He tries again. Tree! Crypt.

"Giving permission worked tree-fashion, but revoking it worked vampire-fashion, which is to say not at all since you didn't nail any crosses to anything. Well, that's an interesting interaction."
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"Nailing crosses to a home revokes permission?"

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"It's a substep of one of the rituals, I believe."

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"I see. Well, now you can get into my old tree..." She shuts the gate. "If I leave the door open."

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Shrug.

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"I've set the new gate to the new continent now just on top of the one to the tree."

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"And now we wait for it to settle, I suppose."

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"Yeah. Do you want to go to the library again?"

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"Sounds like fun."

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"...After some food."

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"Sure."

Plants and plant derivatives?
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Nom.

Library!
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Library indeed.



Except that as they approach the library room in the school building, he stops suddenly in the darkened hallway.
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"What?"

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"Someone there," he says, quietly. (There is a tiny bit more light coming around the corner than there should be.) "H'sh." And he steps closer to listen.

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Promise hushes. She lands.

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A voice drifts around the corner:

"...sure there are any number of better ways you could be spending a Friday night." Pause. "Patrolling, for example."
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"Yes, well, I'm personally offended by Catherine Madison's decision to steal her daughter's body, so here we are. I will patrol when I'm satisfied we have a workable countercurse."

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Promise doesn't have enough to go on about the identity of Catherine Madison to know if that's a real name or not, but still. Mortals.

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"I could take care of that part myself, you know."

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"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."

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Promise looks at Sherlock. ...Tea. It is good practice to begin thinking of him as Tea.

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Tea looks fascinated by this exchange.

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Something plays a short burst of music.

"Hi. No. Just a sec."

A library door swings open.
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Tea begins quietly retreating down the hall, away from the corner around which the library may be found.

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Promise follows him. She's not exactly an owl but wingbeats are softer than her footsteps even if she doesn't fall.

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"No, we're still on the same case," the mortal is saying to an inaudible interlocutor as she approaches their corner. "I know, I know, I just happen to find nonconsensual body-swapping very offensive. I'll try not to make a habit of it."

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Promise starts trying to guess enough at the drunk harmonics of the building, or compensate for them well enough with other information, that she can turn herself and Tea invisible.

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She rounds the corner, raises her eyebrows at Promise and Tea, and says into some mortal artifact, "Hold that thought."

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?"
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"Of course," Tea assures her confidently.

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Sigh.

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"I'm all ears."

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"My companion has research projects of her own, and I'm after the Gem of Amara," Tea explains.

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"This qualifies as innocuous?"

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"Sure it does. I'm a nice vampire."

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"Thrill me with your incontrovertible evidence," she says dryly.

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"He's been perfectly nice to me so far," Promise says. "Given every opportunity to be otherwise."

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"Yes, what is your side of this no doubt fascinating story?"

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"I'm a fairy, you guessed right. Is this your building?"

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"It's not literally mine, but I have semi-official permission to be here right now, which is more than I can say for either of you."

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"I'd apologize, but I'm not actually sorry," says Tea. "But perhaps I should introduce myself. Sherlock Holmes, at your service." He gives a little bow.

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"Mortals," mutters Promise. "I'm Promise, and in the interest of good faith I advise you not to give your real name."

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"Anything to say for yourself, Mr. Holmes?"

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"You're the Slayer. I'm a vampire. I have only so much good faith available."

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"If you are clever enough to bring destruction upon me, rest assured that I shall do as much to you," says the mortal, raising her eyebrows.

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...Tea bursts out laughing.

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"I'm missing at least two things."
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"Which two?"

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"Why that was funny and what a Slayer is."

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"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."

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"Well, this vampire is mine, you can't have him."

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"Then how do you feel about taking responsibility for his good behaviour?"

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"I don't know what your personal standards of good behavior are, why I ought to consider myself subject thereto, or whether you'd decide to hold me responsible if I were less than maximally tyrrannical in managing him, which makes the question somewhat farcical."

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"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."

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"I'm not in favor of murder. If you attempt to kill my vampire, we have a problem."

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"I am not in favour of murder either. Observe that your vampire continues to be a vampire as opposed to a pile of dust."

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"Grand."

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"Honestly, this is vastly more benefit of the doubt than most sane people who have heard of vampires would give me," says Sherlock. "Leaving aside the question of your ownership rights."

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"How nice."

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"As a vampire I unhesitatingly admit that eradicating all vampires from the face of the earth would be a net benefit even if you counted the deaths of the vampires themselves as undesirable, which most people don't."

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"Well, I do. Mortality is tragic in general."

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"I have no settled opinion on the tragedy of vampire deaths. Like he said, the math works out either way. But I also have no problem with making an exception for well-behaved vampires."

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"I'm positively angelic. I don't even eat people."

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"Sure," says the Slayer. "And you want the Gem of Amara because...?"

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"Because it would make me immortal, obviously."

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"It would be inconvenient if he died on me."

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"What do you need him for?"

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"Native guide. Is this a social conversation or are we still trying to talk our way out of a fight?"

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"I think your vampire is maneuvering for my assistance in retrieving the Gem of Amara. I'm not currently interested in fighting either of you but I'm going to be a harder sell on finding the Gem and not immediately destroying it."

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"Because, what, you value the option of being able to kill him without having to steal from him first?"

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"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."

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Sigh. "Why do you even want her help? How helpful would she be?" Promise asks Tea.

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"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."

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"So you want his help, not hers."

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"You could put it that way. I also want her open cooperation in the endeavour because it would be inconvenient if she decided to destroy the Gem rather than let me keep it."

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"And that seems like something she's likely to be able to do."

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"It would be inconvenient if she sought to, regardless of whether or not we could successfully prevent her," he says.

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"Fair enough. And it would be awkward to just store you in Fairyland indefinitely since we don't have animals."

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"Yes."

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"I am open to being convinced that I should let Mr. Holmes have the Gem of Amara," says the Slayer.

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"You know better than I do how you're planning to prevent someone from stealing it from you," Promise tells Tea.

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"The Gem is only a temporary measure anyway. I don't expect to have much trouble keeping it."

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"A temporary measure on the road to...? Well, how about this. I think I can hook you up with a solid ward against sunlight. If I give you that and don't find myself disappointed in your behaviour afterward, I'll consider helping you find the Gem."

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"Perfectly reasonable."

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Huh.

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"I'd also like to know just what happens if you hear my 'real' name, and what a 'real' name is, before I let you get any closer to my Watcher," she adds.

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"Your real name is the first name you ever had. If I know it then you can't hurt me and I can give you enforced commands."

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"Noted. How widespread is this property? Should I be worried about encountering other fairies who might be less friendly about it?"

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"All fairies have this property and most of them are not as nice as me."

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"Best guess, Promise is currently the only fairy of the relevant category on Earth," says Sherlock. "It seems unlikely but not impossible that that might change anytime soon."

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The Slayer nods.

"Well, I'm definitely going to warn him about the problem before I let you meet him, but I'm not inclined to panic just yet. One reasonably friendly fairy is an acceptable risk."
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"Thanks."

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"I admit to some curiosity about your other research projects," she adds. "I might be inclined to help out, depending."

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"Of late I have been tempted to look into the problems furnished by nature," says Sherlock.

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She snorts. "The one that's getting under my skin most recently is definitely more in the societal vein, but you might have overheard that already."

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"More references to mortal literature?"
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"The Professor over here has apparently memorized one of my favourite stories out of my namesake's canon," says Sherlock.

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"Tempted as I am, if I pick a nickname it's not going to be that," she says. "The Professor, if you're curious, was Mr. Holmes's nemesis."

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"Are mortals frequently named after literary characters?"

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"Not usually, no."

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"I'm not a very usual person."

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"That much is clear," she says. "I would like you to leave for now while I explain things to my Watcher, but if you come back in a couple of hours I'll have that sunlight ward ready, and if you want continued access to the books, we can discuss that then."

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Nod.

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"See you later," she says, and she turns back around the corner and starts talking to her mortal artifact again. "Change of plans, can you come up with a way to reliably ward a vampire against sunlight in the next two hours? It's a long story."

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"I don't know quite what to make of her," Promise says softly when the mortal with the violent job description is out of earshot.

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"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."

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"Speaking of which I do not consider myself to have ownership of you but it was the likeliest way to get at the important parts of the actual concept, which mortals do not begin with an instinctive understanding of."

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"I'm mildly amused that she picked up on the phrasing and hasn't put it down again, but I'm not offended, if you were worried about that."

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"A little."

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"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."

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"I wonder what mortal fiction is like. Maybe I'll investigate when there are fewer practical challenges about. I'll keep an eye out for useful administrative properties."

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"Also, if she can come up with a functional sunlight ward on short notice, she definitely commands useful magical resources that we could benefit from if we allied with her."

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"You're better calibrated on that than I am. What would that suggest she might also be able to produce?"

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"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."

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"I'm not sure how much a mortal would derive from a reasonable amount of time spent spying. There's some context they wouldn't have."

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"Oh - no, I was imagining them forwarding you the results by whatever means, just casting the actual spell themselves. It's likely to be better fare, and they're likely to be more skilled at casting it, than you or I would be with whatever we found in those books."

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"Oh, I see."

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"For that matter, if you want to make a serious study of local magic, the person who can come up with a functional permanent sunlight ward in two hours is probably a better teacher than an unattended library if they are capable of teaching at all."

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"Point taken."

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"Anyway. I am thirsty and would like to spend the first part of our two-hour wait stealing blood from a butcher's shop."

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"Should I supervise you so the Slayer doesn't hold me responsible if you have a sudden lapse of judgment?"

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"Up to you. It's not necessary, but I won't mind."

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"Well, I don't have anything else to do anyway." She flutters into the air to follow him.

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He locates the back entrance of a butcher's shop, picks the lock, enters, and raids their supply of animal blood.

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All very neat and tidy and nonmurderous.

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What's that over there?

It appears to be a couple of mortals making out in an alley!
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Sherlock glances at them and snorts.

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"What?"

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"I think I've seen that fellow around before. Mind if I stop for a chat?"

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"I don't see why not."

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"Thanks."

He approaches the pair, casually sipping from a large plastic container full of pig's blood.
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They're pretty well occupied, but during a break in the proceedings one of them turns around to call out at him, "Hey! Find your own alley, we're busy here!"

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"Far be it from me to interrupt," he says. "Thought I recognized you, that's all." Slurp.

"...What is that?" wonders the other alley-goer.

"Pig's blood," Tea says cheerfully.

"Ew! Gross!"
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"I don't think I know you," the blond one says dubiously. "And hey, rude. We were having fun here."

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"I noticed," he says dryly. "Too much bother, by my reckoning. Stealing from the butcher's does me just fine."

"Okay, I'm done here," says the brunette. "You have weird friends." She turns to leave.
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"Now look what you've done," complains the blond.

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"I've got extra," he says helpfully, hefting the paper bag containing two more containers of blood.

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"Ugh, that is so not the point."

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"I suppose I could also compensate you for other losses, if you insist."

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He eyes Tea for a moment and then says, "...Maybe."

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"I think you're right, we haven't met before. I'm Sherlock," he offers.

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"Sherlock, seriously? I'm Zeke," he says. (Click.) "Vaguely disappointing to meet you, but maybe you can make up for that."

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Tea what are you doing.

"Stop," sighs Promise. "Do vampires need to breathe?" she asks Tea.
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"No," says Tea, serenely.

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"Is there some reason why you decided I needed another vampire?"

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"He was about to eat that girl. I decided in the interests of good-faith negotiations with the Slayer I should probably stop him. You have expressed an opposition to murder so I chose the nonlethal option."

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"Fair enough." She glances at Zeke. "You may speak."

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"I am so much less interested in making out with you now," says Zeke to Tea. "What the fuck?"

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"As he describes, I am opposed to murder. Are you in immediate need of food, because if you are I will let you have some of his."

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"I'm not, like, about to die, but I'm kinda hungry, yeah."

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"You may, without extraneous action, drink non-sapient-sourced blood."

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"What the fuck, seriously," says Zeke.

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Tea approaches and hands him a spare container of non-sapient-sourced blood.

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Okay, sure, fine. Nom.

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"I suspect you won't be satisfied with the answer 'I'm a fairy'?"

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"You're one kinky fairy," says Zeke.

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"I'm really not." Sigh. "You may accompany us where we're going."

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"Why the hell not," snorts Zeke. "Where are you going?"

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"The Slayer promised me an effective ward against sunlight, contingent on good behaviour."

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"...Seriously?"
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"Although I do wonder how many vampires I can acquire before this offer dries up."

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"She didn't technically extend the offer past me in the first place, but I see no reason not to ask her what she thinks of an extra," says Sherlock, pointedly without mentioning the Gem of Amara itself.

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"If good behaviour just means not eating people, sign me the fuck up," says Zeke. "Especially if it gets me out of this kinky fairy magic."

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"We'll see if I like your idea of good behavior and trust your sense of when to apply it enough to let you go without orders."

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"...What?"

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"Left to your own devices you eat people. I do not have to leave you to your own devices."

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"Listen, can you maybe explain what you're talking about as though you're talking to somebody who actually hasn't ever heard of leafy fairies with crazy hypnosis powers before?"

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"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."

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"...Okay but what, like, is the process, what do I do to prove I'm a good little vampire," he says.

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"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."

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"Okay, now I'm kind of confused about how hard you expect not eating people to be."

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"If it's so easy why weren't you doing it already?"

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"...Becaaaaause hunting is more fun?"

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"And so you expect us to believe you will consign yourself to an eternity of the less fun option because...?"

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"Turns out most of the fun of hunting is not actually in the eating of people? Like, I'm not one of those hardcore end-of-the-world types, I pretty much just want to drink blood and kiss cute boys. Separating the two isn't going that far out of my way."

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"Then you will not have any trouble resolving a future interrogation to my satisfaction. But for the time being I don't have one mapped out, so you may either stand here immobile until we come back or you may accompany us."

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"Oh, I'm accompanying you, I'm accompanying you."

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Back to the school they go.

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Tra la la. Gently and efficiently breaking into locked buildings.

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When they reach the library, the lights are on in that hall and someone has dragged a chair out of a nearby classroom and is sitting outside the library reading a book. She looks up when the party of three approaches.

"Hi," she says.
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"Hello."
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"You must be Promise, and that must be Mr. Holmes, and...?" She looks from Promise to Tea to Zeke and raises her eyebrows.

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"Do you want to pick a nickname?" Promise asks Zeke. "It won't do any good here but it will mean I don't have to make something up if I must introduce you to other fairies for some reason."

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"Yeah, sure. I have no idea what, though."

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"You can call me Castle," says the woman, getting up. "I'm the Slayer's aunt. For fairy purposes she's nicknamed herself Royal."

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"Why, that's hardly Holmes-related at all," says Sherlock.

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Castle makes an amused noise.

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"And this is temporarily Vampire Two, who will think of something eventually," says Promise.

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"I'm sure Royal will be fascinated to hear how you ended up collecting him."

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"Accurate prediction," says Royal, emerging from the library. "Do you have a nickname to complete the set, Holmes?"

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"I admit to some fondness for 'Tea', which Promise has been using," he says.

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"I have yet to see him pass up an opportunity to drink tea. I ended up collecting Vampire Two when Tea identified him as being about to eat someone and talked his name out of him for me, because apparently I didn't have enough vampires."

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"I heard something about a sunlight ward," Vampire Two puts in.

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"I came prepared to ward Tea," says Castle. "I could be talked into warding you too without a whole lot of trouble, if Royal okays it."

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"Convince me," invites Royal.

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"...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."

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Royal listens to this recital and then turns to the person whose vampire this is.

"Promise, thoughts?"
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"Answer the following question honestly and completely," Promise says. "If I rescinded all of your orders now, under what circumstances might you harm other people in the future?"

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"...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...?"

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"That will do." She looks at Royal and Castle. "Does that sound good enough to you? It sounds approximately good enough to me but you will know more about vampire psychology than I."

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"It passes as far as I'm concerned," says Royal. "Congratulations on collecting some unusually benign vampires."

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"If it's good enough for Royal it's good enough for me," says Castle.

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"I rescind your orders," she tells Vampire Two.

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"Cool. So how about that sunlight ward?"

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"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?"

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"Vampire Two seems more eager about the whole thing; he can have the first shot," says Tea.

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"Thanks," says Vampire Two, eyeing Tea with slightly grudging appreciation. "And sure, whatever, I'll take the long version."

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"Tea? Long version or short?"

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"May as well go for long."

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"I've got my materials set up over here," she says, crossing the hall to enter a classroom. "I don't mind spectators but anyone in the room should sit where I tell them to sit and not move around while I'm casting."

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"I'm curious. Where should I sit?"

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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."

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Royal assists her aunt with the masking tape and also asks Vampire Two, "If you were a chess piece, which one would you be?"

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"...Is this a trick question?"

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"What's a chess piece?"

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"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."

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"Ah."

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"I... guess maybe a knight?" says Vampire Two.

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"We'll see. Sit here, please." She indicates the center of the geometric figure. "Facing me. Royal, if you'd get the pieces? Glass set for him, steel set for us, no harm in priming things a little."

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Royal retrieves some chess pieces from a box: a king, queen, and pair of rooks in stainless steel, and a pawn, rook, bishop, knight, and queen in clear glass. She helps Castle set them out in a square-within-a-square configuration.

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.
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Castle sits in front of Vampire Two, opposite Royal.

"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?"
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"Sure, okay."

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"Further questions from the gallery before I start?"

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"Special effects?"

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"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."

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"Noted."

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"All right then."

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."
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"That was weird," he says. "Cool, though."

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"Having established this association what do you do with it?"

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"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."

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"What does 'alliterative' mean?"

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Royal gets up and starts moving pieces around to achieve the described configuration.

"Alliteration is when words start with the same sound as each other."
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"Oh."

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Castle retrieves some more presumably-relevant items. Small rocks and round glass pebbles. She passes a large smooth river stone to Royal, who places it prominently in the diagram; the miscellaneous objects go in a circle around the outside, enclosing Castle and Royal and all the chess pieces. Then they sit down again.

"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.
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"...That was really cool," says Vampire Two.

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Nod nod.

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Castle smiles.

"Congratulations on your new imperviousness to sunlight," she says. "You can go take a spectator seat now. Tea, your turn."
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He goes and takes a spectator seat.

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Tea comes and sits in the middle of all the masking tape.

"I'm reasonably confident that I'm a knight but there might be an intricacy I'm missing," he says.
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Castle and Royal get up to rearrange the pieces again, putting away the glass knight and pawn and getting out a fresh set of pawn-rook-bishop-knight-queen to lay out the promotion square. They also clear away the river stone and the outer circle before sitting back down.

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."
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"I wish I had asked what all these pieces' properties were, I'm sure this would be more enlightening."

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"I can explain the metaphors in more detail if you like," says Castle.

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"By all means," says Tea.

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"Yes please. And a summary of the underlying rules of this game."

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"Sure," says Castle. "To start off with - Royal, could you deploy one of the spare sets to show Promise the game setup?"

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"Sure," says Royal. She gets up and fetches a chess set.

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."
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"Okay. Why is there a system of magic based around this game?"

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"Because I invented one," says Castle.

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"...Why?"

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"Can you be more specific?"

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"Why did you choose this game to design a magic system around instead of something else."

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"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."

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"Fair enough."

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"Okay, so what about the metaphors?" says Vampire Two. "What's my weird chess horoscope, what does 'knight-as-cloak' actually mean?"

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"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."

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"How freely can you design arbitrary new spells?"

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"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."

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"I don't have a specific idea off the top of my head... Can you affect other magic this way?"

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"What do you mean by other magic?"

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"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."

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"My specialty is protection and my niece is the Slayer. I have cast wards that held up against the hostile application of other people's non-chess-based magic. But I'm not sure if that's the kind of 'affecting' you mean...?"

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"Things like... could you make a gate settle instantly. Could you affect harmonics."

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"I don't know enough about either phenomenon to say."

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"What would you need to know to perform the experiment or make a guess?"

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"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."

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"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."

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"I'd be interested in experimenting, but we're getting a little off-track; I should cast Tea's sunlight ward before moving on to your interesting theoretical problems," says Castle. "Royal, a little help with the setup?"

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."
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"Thanks," says Tea. "A vista of unimaginable convenience opens before me."

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"There goes all I did to adjust my sleep schedule so he could show me around."

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"Sorry. I can stay mostly nocturnal if you prefer."

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"Anyway. Promise, while we're all here, would you like a pawn promotion in case you're interested in participating in future spells?"

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"I prefer operating in daylight all else being equal," Promise tells Tea. "And sure, why not."

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"All right. Tea, back to the spectator seats with you."

Castle and Royal clear away the protective items and Tea's glass pieces from the floor diagram.
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Tea returns to the spectator seats.

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Promise goes in the place where people being chessed go.

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"Thoughts on your preferred piece now that you know more about how they work? Should I explain some of our metaphors in more detail to give you a sense of what they say about us?"

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"Explaining the metaphors might help, but I think queen. ...You could make a case for knight. It is not necessary to bother making a case for queen."

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"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."

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"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."

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"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?"

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"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."

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"I cheerfully admit to extensive weirdness," says Tea.

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"...I may be slightly knightier than I was anticipating considering the crowd whence I came. Not sure. I still think queen."

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"We'll see," says Castle.

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."
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"That was - not my exact tree but a tree that could be one of mine."

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"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?"

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Oh, so many things.

"...What is an example of a 'thing' that a spell can be designed to protect from?"
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"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."

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"Soul removal and other mind-altering magics," suggests Tea. "Since you seemed worried about those as a category."

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"That's definitely an example of a thing I could design a spell to protect from," says Castle.

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"Mind-altering magics are. Concerning. Physical harm is - less concerning at least in a long term sense but I don't relish the prospect. If you could ward off orders..."

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"Well, tell me more about orders and we'll see."

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"When there's a combination of people including at least one fairy and at least one party whose name is known to the other or who has, without already having vassalized the other, eaten food the other has a claim on, and the claim stuck which it may or may not do according to various factors, then there is a master and a vassal. Mutual vassalization is possible.

"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."
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"And orders have to be delivered verbally? Not through writing or sign language or, I don't know, telepathy...?"

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"Telepathy would probably work. Writing only works if you are watching the master write it out; a written note you read any later than as it's written won't work. Sign language presumably works."

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"Is it possible to construct a ward that prevents someone from ever hearing or seeing an enforced order...? Or even just introduces a delay?"

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"Good question. I can't think of any reason it wouldn't work in principle... would a delay fulfill the purpose, do you know?"

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"Probably. I don't know if it would apply to spoken orders or not."

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"That seems like the sort of thing that could potentially be tested."

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Nod.

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"But unless you want to test all of these things tonight, I think I'd like some time to go home and plan spells," she says. "Hmm... can you show me what mapping harmonics looks like?"

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"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."

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"What qualifies harmonics as 'drunk'...?"

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"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."

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"Hmm. I did just do a spell focused pretty heavily on a resident of Fairyland," says Castle. "How far does the normalcy extend?"

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Promise makes more grids, fluttering around the room.

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"I am deeply curious about what information these little lights are actually giving you," says Tea.

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"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."

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"...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."

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"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.
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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.

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"So you can affect harmonics. At least as a side effect," Promise concludes. "They're wobblier than they'd be in Fairyland, but I wouldn't think much of it if I found a spot there that mapped like this."

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"Well, that's very interesting," says Castle. "I'd be fascinated to discuss magic with you."

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Nod.

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"Later. Right now I'm going home. Enjoy your wards, boys."

She gets up and starts cleaning up the remaining spell materials.
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Royal helps.

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"I'm getting out of here, but I wouldn't mind helping with more cool spells like that," says Vampire Two.

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"When and how should I find you again for magic discussions?"

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"Do you have access to a phone?"

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"Not very conveniently."

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"What is a phone?"

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She holds up the mortal artifact she was conversing with earlier. "A long-distance communication tool."

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"How handy."

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"Yes."

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"Anyway, I don't have one, what's your second choice?"

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"How about you meet me in the library tomorrow after sundown, and I will give you a phone then," Royal suggests.

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"Okay."

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"Sounds good. See you then."

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"See you. I suppose I'll go try to sleep to adjust to being diurnal."

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"Won't that be fun," says Tea.

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"Enormously."

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Snort.

Well, back to the crypt they go.
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Indeed. And Promise checks her gate - it's not settled - and goes through her other gate to curl up in her tree and try to sleep.

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And Tea... probably sleeps?

He is once again sitting and drinking tea when Promise returns.
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"Good morning, Tea."

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"Good morning."

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She checks her gate. It's still not settled. Sigh. "Breakfast?"

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"Sure."

Plants. Plant derivatives.
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Nom.

"So what is there to do around here during the day?"
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"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."

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"I don't know how to make only part of myself invisible."

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"Well, figure out an alternate solution or endure awkwardness and mild social censure, I suppose," he says.

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"I don't have anything to wear that covers my wings... and I'm actually really terrible at walking, anyway..."

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Snort. "Wonder if Castle can invent a spell to help you with that. She's got an impressive gimmick going there."

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"I feel like I'd look wrong without wings, but I suppose random mortals wouldn't know that. Mortals don't dress like I do, either, do they?"

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"They generally don't," he agrees.

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"So I'll look weird no matter what I do, unless you have mortal clothes in my size - and shape, whether my wings can be made invisible or not - on hand."

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"There are degrees of weird available. Pick whichever you like best."

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"Are there any obvious problems to just going out as I am besides getting weird questions and odd looks?"

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"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."

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"I could turn invisible until we get to the library and tuck myself into a corner?"

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"Sure, that seems like a functional patch."

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Promise consults her map of the room, and after some frowning at it, turns herself invisible.

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To the public library they go!

Tea has no fear that his sunlight ward might fail. His confidence is rewarded by a complete lack of bursting into flames.
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How nice for him. Promise flutters along after him.

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The public library is definitely bigger than the library in the school. The building itself is smaller than the school, but the library takes up the whole thing instead of being relegated to a few rooms.

Many books are present.
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Promise goes behind a bookshelf, lands, takes a moment of fumbling with the drunk harmonics to reappear, and then starts looking at books.

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Tea picks up some fiction and sits at a table and reads.

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Reading! Promise can just read all day, that seems like a plan.

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Yes indeed. Well, unless one of them gets hungry, but Tea seems not to.

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Promise does, but she doesn't want to haul all the way back to the crypt in the middle of the day. Two meals a day will do it.

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In that case, reading all day it is. Promise can learn about whatever nonmagical aspects of Earthly existence she likes!

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She learns so many things! And has to ask Tea for context on a lot of them.

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Tea is full of context.

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How useful of him!

And eventually the sun is low in the sky and they should go back to the crypt and feed plants to Promise and then go to meet Royal at the school.
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They do this. Sherlock stops on the way to the school to steal more blood.

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Royal is waiting in the library, reading a book.

"Hi," she says when they walk in.
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"Hello."

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"I have your phone." She hands Promise a mortal artifact of the appropriate type.

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"Thank you. How do I phone?"

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Royal is happy to explain the basic functions of this mortal artifact.

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Promise picks them up well enough. "Thanks," she says again.

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"No problem."

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"Is there a particular time at which I should call Castle? I imagine it would be alarming to have this thing start making noises unexpectedly."

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"It's customary to avoid calling people when they're likely to be sleeping or have recently woken up, unless there's an emergency. You can assume Castle is awake and willing to receive calls anytime from late morning until a few hours after sundown."

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"Okay."

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"Now, was there anything else you wanted to look up while you're here?"

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"What are the odds you've already found and taken possession of the Gem of Amara?"

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...Royal laughs.

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Blink blink.

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"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."

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"I'll leave it in your hands, then," he shrugs. "Promise, shall I fetch your books so you can pick up where you left off?"

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"Yes please."

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Books!

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Such books.

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Very books.

Rather than do research of his own, Tea idly engages Royal in a game of chess without an actual chessboard. They just narrate the moves to each other out loud.
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What a peculiar skill to have. Promise can't follow the notation at all. She reads. Her access to her tree let her get at some notebooks, including one that started the day empty and between the two libraries is approaching half-full.

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As she reads more and more books on magic she may begin to get a clearer picture of what Tea meant about magical theory being insane. It's not just that there are so many dubiously-related ways to cast a scrying spell and no clear reason why any of them work; it's that every book seems to be written from a slightly different perspective on even the most basic fundamental questions like 'what is magic' and 'why does it work the way it does' and 'how does it, in fact, work'. There is no clear resolution to the conflict between these only-mostly-compatible paradigms.

Meanwhile, Tea and Royal intersperse their impenetrable chess match with only-slightly-less-impenetrable conversation. At least they seem to be getting along.
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That's nice for them. Promise will just take frustrated outside-perspective notes. Maybe she will invent a version of this magic system that works for her the way chess magic works for Castle.

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"How's the research coming along?"

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"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."

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"Lucky for us we ran into someone who successfully invented her own magic system. Perhaps she can give you some pointers."

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"Bet she can," Royal agrees. "But inventing your own magic system can't be that easy or everybody would be doing it."

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"I'm very smart."

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"Are we sure everyone isn't?" inquires Tea. "It would explain the mess."

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Royal laughs. "I take your point. I don't know, I'm not the expert. I'm not either of the experts."

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"Well, I'll talk to Castle about it."

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Nod.

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So the following morning after she hops out of her tree into Tea's crypt, Promise investigates the height of the sun and calls Castle.
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"Hello."

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"Hello. Is this a good time to talk about the possibility of me inventing my own form of magic rather than spending decades attempting to disentangle the stew of them?"

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"Sure," says Castle. "Why not. It's been a while since I was in that position, but I think I can probably still help."

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"Should we meet or should we just talk on the phone?"

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"If you want to have a long conversation about magic and potentially do some practical tests, it'll be more convenient to meet. If you just want a quick chat about theory it'll be more convenient to talk on the phone."

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"Long conversation. Where should I find you?"

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"If I give you my address, can you find it or have Tea find it for you?"

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"Tea, will you help me find Castle's address?"

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"Sure."

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"Yes, Tea can find it for me."

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Castle gives an address.

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"We'll be there soon."

Promise relays the address to Tea.
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"Oh, I know where that is." Off to Castle's house they go.

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Promise again travels invisibly.

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They arrive. Tea knocks.

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Castle opens the door.

"Hello," she says. "Tea, would you like to join this discussion?"
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"I could lurk beneath your windowsill instead, but honestly inviting me in seems simpler all round."

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"I see your logic. You may come in," she says.

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"Thank you."

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Promise comes in too and once indoors de-invisibles.

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"Welcome. I suppose it would be rude to offer you food, but there's tea for Tea."

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"I don't know about rude per se, but I wouldn't have taken any." Promise has her notebook. "What did you try before you got to chess magic?"

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"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."

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"What constitutes 'sensible' against such a backdrop?"

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"'Sensible' in this case means 'in a way that made sense to me personally'."

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"Do concepts along the lines of 'geometric forms' have features that make them useful to grab hold of in those terms apart from what happens to fit neatly in one's mind?"

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"I'm not sure I understand what you mean."

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"From the perspective of the mortal magic mishmash, is 'geometry' a thing?"
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"I'm not sure whether that's a meaningful question, or how I would find out the answer if it was," she says. "Geometry-focused traditions definitely exist. So do traditions that don't seem to interact with geometry at all."

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"Do the geometry focused ones have anything else in common?"

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Shrug. "I'm not familiar enough with all of them to say. Off the top of my head it doesn't seem like they do, at least not in a substantial or obvious way."

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"Can you go into more detail about how you attached magic to what I presume was previously a nonmagical board game?"

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"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."

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"How did you avoid the more usual results?"

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"I don't honestly know for sure," she says. "Maybe I'm just lucky. Maybe I have a talent for guessing which things are going to work. I do think I have an unusually strong sense for what works and what doesn't in magic."

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"Is that sense... itself magical, or practice-based? And if it seems likely that you were just lucky why were you willing to take the risk?"

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"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."

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"But you don't know any more detail about the magical sense you may have."

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"It's very hard to test."

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"Safely, anyway... is there any subjective quality to it or does it only feel like guessing?"

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"It feels like guessing, or like having aesthetic opinions. Not like anything overtly magical."

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"Maybe I should not attempt to invent a magic system that suits me. At least not at this time."

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"You could try to get me to invent a magic system that suits you," Castle suggests. "But I can understand if you'd rather steer clear."

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"That's tempting but I wasn't confident enough in your interest in helping me to ask. It seems like it would be a major undertaking."

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"It would be an interesting undertaking and I like those," she says. "And I'd come out of it with another magic system, if it worked, which is no small thing."

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"This is true. Where would be the best place to start?"

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"Well," she says. "You could describe the magic system you already know, and what you've learned about the local ones, and what features you like and dislike about each of the above."

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"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."

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"I might benefit from more editorializing, yes."

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"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."

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"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?"

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"Yes. And ideally would dovetail well with sorcery. You affected harmonics - that could be an amazing gamechanger - but you did it as a side effect. Since it's doable with mud-sticks-glitter at all, it would be lovely to work it in intentionally."

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"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?"

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"I would, although it's less important than some other desiderata."

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"Well, I'm not expecting to pull together a whole system in the next hour, so there's time to think about it and consider options and maybe try a few things. Thoughts on aesthetic and structure?"

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"My aesthetic mostly revolves around things like trees and lights and colors. I'm not sure if that gets us anywhere. What do you mean by structure?"

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"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."

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"I'm not sure I feel an affinity for anything quite that... modular. Is modularity the thing?"

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"Modularity is definitely an important aspect."

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"I like books but they're closer to freeform than modular..."

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"Yes. I can't think of a good way to turn books as a general category into the basis for a magic system."

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"Writing? I just had a mental image of being able to draw a harmonic map and impose it on the world. Although that would take forever..."
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"Writing... has possibilities," she muses.

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"Possibilities that don't take forever? I can write very quickly with fairylights but only in situations where I can already do some sorcery acceptably well."

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"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?"

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"Okay."

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Up the stairs to the workroom they go, then.

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.
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"Mapping it will take me hours," Promise warns.

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"You don't necessarily need the whole thing, do you?"

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"Not necessarily, unless the harmonics here are drunk in some completely new way." She starts gridding.

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Castle watches curiously.

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.
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"This is strange," Promise says. "Doing mortal magic definitely affects harmonics. If you do magic along these floor lines, as I strongly suspect you do, it's making cliffs and slopes accordingly."

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"Yes, the floor patterns are my guidelines for marking out spell layouts, so I don't have to get out the masking tape every time," she says. "That's interesting."

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"Harmonics are normally somewhat affected by things around them. Sorcery, living things, landscape. But not so dramatically."

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"Hmm. Well, let me know when you've got a solid enough idea of the space that I can start trying things and seeing how it changes."

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Promise nods. She makes a few more grids, then starts making lines only a few lights across along features that seem likely to exist to confirm that they're there, and finally she says, "I think I have a manageable working knowledge."

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"All right. Let's see..."

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."
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Nod, nod. Promise finds a spot outside the circle to perch.

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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.

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And Promise starts mapping again.

She's not taking notes, so she just lights up the entire floor-level layer.
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Inside the circle, the harmonics have been marshaled into such an exact copy of the crystalline tower that even Castle can clearly see it reflected in the reactions of the fairylights. Outside the circle, the pattern fragments into imperfect echoes that fade as they approach the walls of the room.

"Did that work as well as it looks like it did?"
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"It did!"

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"Well, that's promising. Now I want to see if I can make it completely uniform in there," she says, getting up to collect the rocks. Then she puts them away, replaces them with twice as many clear glass pebbles, and sits back down in her chair outside the circle.

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.
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"Oooooh."

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"Useful?"

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"Extremely!"

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"Good to know," she says.

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"But if I have to put a rook down on a geometric surface and talk to it for a while beforehand it will not be useful in an emergency, is the trouble, since it's so local."

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"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."

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"It's definitely good and I would definitely like to learn how. But I don't think it's directly applicable to my main project on deck, which will involve assailing a well-defended palace under circumstances such that if I don't win immediately I probably lose."

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"Well. That does sound like a situation where you want something less ritualized and more immediate," Castle agrees.

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"Yep."

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"Still, we've proved that my magic can affect your harmonics in a useful purposeful way, which is pretty good for a day's work. Do you want to try the harmonics-affecting spells yourself?"

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"One thing that I have been led to worry about is the risk of addiction. Is that a serious danger?"

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"...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."

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"Can you go into more detail on 'big trouble'?"

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"People who get addicted to magic sometimes make very bad decisions about what magic they should be doing, and bad decisions and powerful magic aren't an auspicious combination."

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"This concerns me. Is it a particularly hard problem to treat? I feel like I might notice from the first spell I cast if it were going to be an issue for me at all but if it is I'd like some sensible way to address it."

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"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..."

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"I... had not considered the possibility that it might affect my equanimity with regard to sorcery."

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"And now that I've thought of it I have no idea how to tell whether it's possible and how likely it is if so. Well, I suppose getting hundreds of sorcerers to try magic until some of them get addicted would give us an idea."

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"I don't have any sorcerers handy besides myself. Mortals can learn it, but we have no addicts on hand to see if it satisfies the cravings. Do we?"

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"I could try to come up with one," says Castle. "There are some people I could ask."

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"And I think it would at least be challenging to come up with other sorcery to do based on learning how to make a fairylight, and those are quite harmless."

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"So we'll see. But it might be prudent if you didn't try to do any local magic until we know what resources we have for predicting how magic addiction interacts with sorcery."

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Nod.

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Shrug. "Anything else I should test while we're here? Particular effects that it would be useful to know if local magic can achieve?"

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"I wonder if you could let me sense harmonics directly. If it were a persistent effect it would be almost better than letting me flatten them out."

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"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."

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"Good points all. I wonder if Tea wants to see harmonics."

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"Let's find out."

She steps out of the workroom and leans out over the top of the stairs and says, "Tea, would you like to see harmonics?"
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"Sure, why not," he says, appearing at the bottom of the stairs and looking up at Castle.

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"The idea being that you may go around indefinitely drunkening or otherwise affecting them and this would be a good thing to know before casting it on someone who uses sorcery," explains Promise.

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"Yeah, I heard," he says. "I have no objections to being your test case."

He ascends the stairs.
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Promise supervises.

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"Promise, would you like to participate? A second person sitting for rook will help to balance and strengthen the spell, and as far as I know the danger of magic addiction is only in the actual casting."

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"Sure. What do I do?"

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"You'll just have to sit in a specific place in the spell layout not doing much, like Royal did when I cast all those spells at the school."

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?"
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"I'm definitely seeing something," he says. "If what we saw at the start of the spell was drunk harmonics, I think these harmonics have taken regrettable doses of hallucinogens."

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Promise starts curiously surrounding Tea with fairylights.

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The harmonics in his immediate vicinity are wildly unstable. You couldn't hope to map it; never mind writing anything down, the patterns move so fast that even building an accurate mental picture of a defined space by staring at gridded fairylights verges on the intractable.

"I'm starting to feel a little like I've taken regrettable doses of hallucinogens," Tea says dryly.
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"Maybe if you flatten the harmonics around him that will help?"

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"Worth a shot," says Castle. She cleans up the spell layout, reinstates the simple one for flattening harmonics, and says a quick version of the flattening narrative.

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"That certainly flattened some harmonics," says Tea. "And yet I continue to fuck them up dramatically."

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"Oh dear. I'm sorry. But I'm glad it's not me."

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"It's sort of entertaining to watch, actually. But I wouldn't want to try learning sorcery in this state."

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"You might actually be able to - enough attention to other factors can let you completely ignore harmonics, and it's not bad enough to shred established lights - but yeah."

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Shrug. "And now you know. And I suppose you'll need a second test subject if Castle goes for another try."

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"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."

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"How long until we know if that's going to happen or not?"

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"I'd give it a week before I started trying alternatives."

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Nod. "I wonder if you're going to disturb all the harmonics in your place until I can't use my map anymore. Oh well."

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"Seems very likely, since I sleep there."

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"Oh well. I'll map the roof."

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"My nonsense mostly doesn't go that high."

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"Mostly?"

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"If my bizarre harmonic aura has a particularly energetic moment while I'm passing through the ground level of the crypt, you might have to amend your map of the roof."

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"Then maybe I'll just map part of the graveyard you don't tend to pass through."

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"A sound plan."

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Promise watches her lights flicker, then clears them away. "Well, you'd certainly throw off any sorcerers you got near if it came to that."

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He laughs.

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"But I don't think you can defeat the entire queenscourt in one fell swoop with nothing but an aura of inconvenience."

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"Alas."

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"Since I should not cast any spells today and should also not be given my very own aura of inconvenience, is there anything else productive to do today? I wonder if those protective spells you mentioned will give me some kind of aura."

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"Royal and this house both have plenty of protective spells cast on them, and neither seems to do what Tea's harmonic-sight spell has been doing," says Castle.

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"That's true... although I didn't try to map Royal's immediate environs."

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"If she was producing this much nonsense, I think you would have noticed something, but if her effect is more sedate or covers a smaller area it could have passed you by."

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"Yeah. Are the ones on the house very similar to the ones on Royal?"

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"They're all protections, but the casting and intended effects are somewhat different," says Castle.

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"So maybe I should surround Royal with tiny lights before putting on anything I can't take off."

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"Reasonable. She's busy right now, but I can ask her to meet with you later if you want."

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"Sure. How much later?"

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"Does tomorrow evening at the school library sound like a reasonable time and place to you?"

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"Sure."

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"I'll arrange it. Anything else for now?"

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"Nothing particularly comes to mind. I guess we can just go to the library again."

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Tea shrugs agreeably.

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So Promise stands well away from the hallucinating harmonics in one of the more regularized parts of the house, turns invisible, and goes with Tea to the library to read things.

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Tea reads fiction. And is available to help explain assorted mortal phenomena.

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That is good of him.

And then food and then Promise spends the night in her tree.
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In the morning when she returns, Tea is sitting on the floor, calmly drinking tea.
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Tea is not the only one on the floor.

A fairy lies there - a very tall fairy, nearly Tea's height - facedown, with the beautiful starry veils of his wings pooling haphazardly on the floor around him. He does not look like he has had a comfortable night.
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"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?"

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"Oh dear," sighs Promise. She shuts her Valley Continent gate. "Hello, Arcane."
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"Hello," says Arcane.

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"You could let him sit up," Promise tells Tea.

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"I quote, 'as little practice as you have giving orders, anytime you attempt to command or permit something of me you might instead make the mistake that sets me free'," says Tea.

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Sigh. "Is he whitelisted from 'stop'? How did you phrase his permission to speak?"

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"Yes. It was 'stop' followed by 'you may breathe' followed by 'you may, without attempting any deception or extraneous action and without enforcing any orders, speak'."

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"Not bad. You could add... mmm... 'answer our questions completely and truthfully; you may warn us if this is about to intrude on personal information of no genuine interest to us'. Arcane, do you see any problems with that one?"

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"No."

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Tea repeats this instruction verbatim.

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"What would you do if your Queenscourt orders - actually orders received outside this room in general - were rescinded, besides, 'at the moment, not much'?"

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"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."

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"Ugh," sighs Promise. "...If you're the Queenscourt's best sorcerer how did Tea catch you?"

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"The effect he has on nearby harmonics was more disorienting than I expected from perceiving it through the gate, and he was able to physically overpower me almost as soon as I emerged from the gate, before I could adjust well enough to do sorcery."

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"Isn't that lucky," Promise mutters. "As it happens we were already contemplating how to conquer Fairyland. Now I suppose we have an asset and a deadline."

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"I suppose you do," Arcane agrees. "I have some experience conquering courts; I lead the team the Queen sends to take the most difficult ones."

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"I just bet you do." Promise nibbles her lip. "...If Tea didn't tell you, I'm Promise."

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"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."

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"He's seen me work a little, and I... learned from the best... but even given that I'm impressed too. But if you're going to stick around as opposed to being got rid of it's a little intractable for you not to have my nickname."

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"I would like to be permitted to heal myself of injuries sustained when Tea captured me and I cannot immediately think of any way I could use this opportunity to escape or work against your interests if the order was competently given," he adds.

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Promise looks slightly irritatedly at Tea, then says, "Phrase it, 'You may for the next thirty seconds and exclusively on yourself use healing sorcery'."

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Tea shrugs and repeats the order.

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Arcane ceases to be injured.

"To clarify, when the subject came up earlier I explicitly advised him not to let me do that. But with your help it is no longer a stupid idea."
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"Are you a hostile vassal? Is it a stupid idea for me to even be thinking about letting you operate under relatively light orders?"

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"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."

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"I am planning to conquer the Queenscourt and run Fairyland better than the Queen does. Feel free to question me about what I mean by 'better' because I don't have a public relations version written up yet."

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"I am indeed very interested in your definition of 'better'. What do you see as flaws in her governance?"

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"She employs non-volunteer labor and even with this surplus of assistance does not police abusive courts even on her own continent."

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"That is certainly a flaw. Is there an abusive court you would like policed?"

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"I can think of one."

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"It occurs to me that a lesser conquest might make a good testing ground for the resources and strategies involved in taking over the Queenscourt, under some circumstances."

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"My suspicion is I'd rather be caught by the Queen than by Thorn."

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"Plausible. The effectiveness and advisability of testing this way depends on what your resources and strategies are."

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"Bizarre mortal magic. Tea."

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"I don't know much about bizarre mortal magic, but I have a high opinion of Tea's competence and effectiveness."

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"Well, the aura of drunk harmonics is new."

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"What a charming description."

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"Speaking of which, do you happen to know why it's reputed to be impossible to do sorcery in the mortal world? It seems to be news to you too that this is false."

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"I've seen gates before. The locations they led to were impossible to do sorcery in, as far as I could tell without going through to try it personally. Compared to the intense harmonic noise they displayed, Tea's disruptive aura is positively sedate."

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"Huh."

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"Returning to the subject of the Queen's flawed governance, in what other ways do you expect to do better than it?"

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"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."

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"I can offer you plenty of information about how the Queen runs things. And I agree with your assessment of that order."

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Tea repeats the order.

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And now Arcane is sitting up with his wings neatly folded instead of all over the floor.

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"I'd be fascinated to know what you have to say about how the Queen runs things."

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"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."

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"Why is someone eternally drowning?"

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"That is the sort of thing that happens when one personally upsets the Queen to a sufficient degree."

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"Aha. Bad behavior such as?"

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"Well, for example, if I were to assist you in attempting to overthrow the Queenscourt this would be voluntary disloyalty from a Queenscourt member and would not be viewed kindly."

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"For that matter, attempting to overthrow the Queenscourt will probably not endear you to her either."

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"Well, yes, but I'm not being wedged into a choice of that or being turned into a small animal and kept in a box, am I."

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"It's true, you aren't."

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"So for whatever it's worth I'm sorry you found my gate."

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"Thank you."

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"Maybe I should have just stayed here and checked it more often..."

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"Perhaps. I don't know how long it sat open before I found it. And I might have been curious about the midair gate even if it had been closed, although it would not have been so glaringly obvious." Pause. "I can force open a closed gate."

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"You can?"
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"Yes."

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"That's amazing."

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"I did mention I was the Queenscourt's best sorcerer."

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"I had been figuring that meant you were - fast, that you knew all the usual things and maybe some weird stuff, I didn't know anybody could open a gate that wasn't theirs."

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"I like to do obscure research."

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Stop geeking out, Promise.

"Anyway. Do you prefer helping us to being turned into a small animal and kept in a box?"
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"I think it is very likely that I would."

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"What do you need to know to make up your mind?"

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"I would like to be more confident in my assessment of your motives, and I need to know how much freedom I would have if I cooperated."

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"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."

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Tea snorts.

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"Hm," says Arcane.

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"Hm?"

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"It's a puzzle, this situation."

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"Yes. I don't need an answer instantly, although soon would be more convenient."

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"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."

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"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."
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"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."

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"Not a bit. ...There are some mortals around who might vouch for me. They can demonstrate the ability to harm me. If necessary."

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"...Potentially a way out of the puzzle," he acknowledges.

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"I'll talk to them."

Promise departs the crypt.

She calls Castle.
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"Yes?"

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"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."

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"That sounds like a pretty insane coincidence," says Castle.
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"He can see harmonics. Naturally. And he was on vacation and saw the end of the gate I made to the place I was planning to put my new tree; it had settled overnight. He went through it and Tea got him."

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"...Is he all right? I can't imagine being 'gotten' by a vampire is a gentle process."

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"He was a little injured. We let him heal himself once I was there to make sure the permission was snug enough."

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"And you want your character references from me or Royal?"

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"Or both. Yeah."

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"That can probably be arranged. Do you need the reference urgently or can it wait until you meet Royal this evening?"

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"It is not technically urgent but Arcane - the sorcerer - will be sitting immobile on the floor of Tea's crypt until we can come to some kind of agreement, which I don't like much."

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"Reasonable. Should one or the other of us come to Tea's crypt to talk to you?"

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"Yes please. I'll get the address from Tea."

Promise leans back into the crypt. "Tea, how should Royal or Castle find the place?"
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Tea offers a serviceable description of the crypt's location.

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Promise relays it.

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"I'll send Royal," says Castle.

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"Thank you."

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"No problem." A pause, then, "Royal's on her way."

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"When should I expect her?"

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"In about half an hour."

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"Thanks."

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"Is that everything?"

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"I think so."

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"Bye, then."

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"Bye." Promise hangs up. She goes into the crypt to announce that a mortal will be appearing to make a character reference in about half an hour. And then she waits outside for Royal.

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And there is Royal.

"Hi."
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"Hi."

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"Before I talk to your captive about my assessment of your personality and motives, is there anything you want to tell me to give me a clearer picture?"

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"About my personality and motives or something else?"
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"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."

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"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."

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"Those are pretty good reasons to assail a palace," Royal says agreeably.

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"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."

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"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."

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"I heard your Watcher's name. You will notice I have done exactly nothing with it, but I can't help but think you've been waiting for me to admit it for some reason."

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"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."

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"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."

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"Thank you for explaining," says Royal. "My Watcher isn't going to want to go anywhere near you for the forseeable future, but when I explain what you're trying to do I'm sure he'll be happy to help with research on local magic, which is something he's very good at."

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Nod.

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"Anything else before I talk to Arcane?"

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"Are there any other things you think I might have overheard? Because I can't think of anything else significant."

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"I don't have any lingering suspicions about things you might be keeping quiet about knowing, no. But if you wanted to go into more detail about your motivations for conquering Fairyland, that would help me form a clearer picture."

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"It's badly run. I think I could do better."

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"Seems plausible that you could."

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"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."

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"I see."

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"Anyway. Can I get a good reference?"

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"Yes."

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So Promise shows her into the crypt. "Arcane, Royal. Royal, Arcane."

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"Hello."

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"Hello. What can you tell me about Promise?"

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"I'm tentatively in favour of her proposed conquest of Fairyland. From what I've heard, it seems like she'd be an improvement on the current ruler."

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"Thank you. It will demonstrate to Arcane that I cannot have ordered you to say that if you pull a hair from my head."

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"Sure," says Royal. She approaches Promise and does that.

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"Well, that's... reasonably strong evidence," says Arcane.

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"What are you afraid of, here?"

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"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."

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"Not a pretty picture," says Royal.

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"Do you think you can ensure the success of the effort with sufficient freedom?"

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"That is not exactly what I meant, no. I do think that substantial restrictions to my freedom will diminish the effectiveness of my contribution."

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"I agree, that's generally how things work."

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"And I cannot afford to do this with less than maximal effectiveness."

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"Is there something in particular you suspect I'll be tempted to order you about which will interfere?"

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"Not in particular, no. But - if I had been compelled to conquer the mortal world, one of my first priorities in that effort would have been to erase all of my other Queenscourt orders, because any order can be the wrong order under some circumstances."

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"There are probably more reassuring ways you could have put that to someone who's considering rescinding your Queenscourt orders," Promise points out mildly.
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"What?"

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"I assume that in this instance you'd have left whichever order compels you to conquer the world intact and I'm not planning to, but mentioning that something I have been contemplating doing would be mostly step one in your plan to conquer the world...?"

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"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."

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"Once the attack is in progress completing whatever plan we have for conquest will be the top priority. Until we're committed that far there are - methodological priorities that I'd place higher than arranging the best possible chance of a technical success."

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"What do you mean?"

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"For instance, if it turns out that the plan with the best chance of success involves vassalizing and then deploying as slave labor innocent unwilling mortals I'm not going to do that even if it would totally work and the next best option might not."

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"Perhaps I should just be turned into a small animal and kept in a box," says Arcane, disgruntled.

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"...To clarify," says Royal, "that isn't because you're disgusted with the idea of refraining from enslaving innocent mortals?"

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"No. Of course not. If it were my project to begin with, I would go with the next best option."

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"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."

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Royal scrutinizes Arcane's face for a moment and then says, "Are you offended?"

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"A not inaccurate description," says Arcane, "although that is not how I would have put it."

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"I sympathize, but given what's at stake here, have you considered getting over yourself?"

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"Your suggestion is noted."

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Tea snorts.

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"Offended by...?"

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"I did say that is not how I would have put it."

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"Well, how would you put it?"

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"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."

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"How would you like me to determine if I can trust your free cooperation? I produced a mortal character reference; similar are going to be thin on the ground for you and you could always agree and then change your mind."

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"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."

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"And you can firmly trust your predictions here because...?"

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"I have an extremely long and extremely reliable track record of understanding myself to exactly the degree I think I do."

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"I will still want your name but I do not require otherwise that you be under any orders."
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"That is... acceptable. I would like more time to think but I anticipate agreeing at the end of it."

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"All right."

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"Thank you for your help, Royal. Do you want to stick around?"

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"Not sure. I'm definitely interested in offering all reasonable assistance to the conquest of the Queenscourt, but it seems like you haven't quite even reached the planning stages yet."

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"Not quite, no. But a more comprehensive idea of what mortal magic we can get our hands on would be good once we do."

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"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."

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"Thanks."

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"Happy to help."

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"And with that all in a position not to require my immediate attention for right now, since my Valley Continent gate is settled I'm going to go plant my tree and get some proper food."
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"Sounds like a plan," says Royal. "I'll see you later."

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"Bye. Thanks again."

And Promise picks up her tree branch and goes through her Valley Continent gate and finds a good place for her tree and plants it and grows it and finds some food and fills up and then comes back to Tea's crypt.
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Tea and Arcane are playing verbal chess.

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"Did you already know chess somehow or did Tea explain it to you just now?"

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"The latter."

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Promise snorts. "Are you done thinking or do you need a while longer?"

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"I have had sufficient time. I accept the proposed arrangement."

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"Would you like Tea to leave when you give your name?"

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"That may depend on how likely Tea is to eavesdrop."

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"Would you like to be permitted to follow me a few hundred meters into the air before you give your name?"
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Snort. "Sure."

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"Proposed wording: 'you may, taking no extraneous action, follow Promise where she leads of her own uncommanded will'."

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"Functional," diagnoses Arcane.

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Tea transmits the order.

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And Promise shows Arcane out of the crypt and flies up.

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Up go fairies.

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Promise goes up a little higher than she expects Tea to be able to hear, and puts her ear near Arcane's face.

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"Sierulyperinon."

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Promise takes a deep breath. And says, "I rescind all your orders."

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"Thank you," says Arcane.

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"You're welcome."

Down go fairies.
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"What a harmonically fascinating place," he comments.

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"I wonder if Castle can just copy your harmonic sense. Tea was the test subject for a spell that was intended to do that - and did, but also made the harmonics near him even wackier."

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"A potentially interesting and valuable experiment."

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"Castle's magic is themed around that game Tea had you playing, only with the actual pieces involved."

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"Interesting. I look forward to learning about mortal magic."

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"Moooost of it is a mess."

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"In what way?"

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"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."

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"I am going to be either immensely fascinated or immensely frustrated," he predicts. "Likely both."

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"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."

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"Yes, that would no doubt be very inconvenient. But is it a side effect only of practicing, or is learning the theory also dangerous?"

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"Just practicing. I have read a lot of books."

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"I would also like to read those books."

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"Then you should join us the next time we go to the library with the relevant contents. There's another library but it doesn't have anything about magic in it, just stuff about mortals. Also interesting; not so practical."

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"The information about magic may not turn out to be especially practical either if the risk of addiction is too high for either of us to use it."

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"But Castle is already a practitioner, and can find more. Dividing the theory work can't hurt if we can get sufficiently up to speed."

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"Perhaps. I don't know enough about the system or systems to know how well that would work."

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"Well, I'm not sure either, but it's more likely to be useful than learning about various excuses mortals have come up with to kill each other or the nature of popular mortal religions."

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"I am also curious about how they solve the problems caused by lack of wings."

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"Stairs, like the ones into the crypt. And vehicles that roll very fast."

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"Why the division between the library with magic and the library without?"

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"Magic isn't common knowledge to mortals for some reason. One library is maintained by someone who knows about it and the other is not."

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"Now that is fascinating, because it implies that the most widespread solutions to the problems of winglessness must be nonmagical in nature."

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"Yes. I know how stairs work but I do not understand the underlying principles of the vehicles. They have flying vehicles, too, which go faster than any fairy I've ever heard of."

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"Nonmagical flying vehicles faster than any fairy? Now that sounds like a potentially practical avenue of investigation. Unless those are addictive as well."

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"I don't think so. But they don't fly them around everywhere so there must be some drawback. Let's ask Tea." She opens the crypt door.

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"What are we asking Tea?"

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"We are asking Tea what the matter is with the flying vehicles that people don't just fly them around everywhere."

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"They're expensive to make or acquire, many of them can only land and take off at specialized flat locations, they require skill to operate, and they are often large enough to be unwieldy for casual use."

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"That sounds very inconvenient on all counts."

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"If you'd met me last year I could've introduced you to someone who could supply you with flying vehicles more convenient than the standard, but unfortunately he is now dead."

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"Why can't anyone else do it?"

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"There are other people who can, but none who are nearly so likely to. You'd have to find someone who not only had the relevant expertise and resources, but also knew about magic and was willing to help you."

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"Why doesn't anyone who knows about magic just tell everyone else?"

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"Because no one wants to do it first. Which is an oversimplification but not a drastic one."

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"What would happen to whoever did it first?"

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"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."

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"The field of magic doesn't look like it's been principally pioneered by the risk-averse."

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"And yet."

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"No other obvious obstacles?"

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"What do you mean?"

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"There isn't some - bizarre spell over everything making it impossible to say or impossible to be believed, there hasn't been a long conspicuous history of people trying and unpleasantly failing...?"

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"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."

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"Fair enough, I suppose."

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"Do you have any theories about what the covert obstacles might be, if they exist?"

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Shrug.

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"I don't expect it to be useful to the project to announce magic to mortals in general, but having to operate as if it's a secret is an unhelpful constraint..."

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"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."

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"I suppose that's a reasonable threshold."

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"I thought so."