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There is always sacrifice. Gifts must be repaid: the spoils of the earth, the bounty of the rivers, the rains and the sunlight and the winds. If you do not give back, you become entitled, selfish, rapacious; but by giving back you satisfy... something. Maybe you really are fulfilling ancient pacts with the living soil and the turn of the seasons, but deep inside you there's doubt, isn't there? That if you really were, it'd do... something. The crops would spring to life if you sacrificed enough, the rains would come if you screamed until your voice was hoarse and bloody, that you could do something. That you could grab the wheel and make it turn.

But you don't. You don't know that. Maybe your rites are true and potent. Maybe you just carry them out because if you don't give back to the world that feeds you and clothes you, you'll all stop being mankind and start being something else, something with iron in its heart. And for all you know, perhaps the blood of the giants that Brutus fought, those ancient natives whose overthrow was great and terrible, it is becoming less and less with each generation. You are less than your mother, the Bristol Avon, and if you ever have a child to pass on the old blood, she will be less than you.

Doubt gnaws at your heart like a worm in rotten wood, but you carry out the steps anyway. What's important is that what's done is done. The summer and the sun and the earth don't care what's in your heart, not like the God whose death you now wear around your neck. (And the Christians dare cluck at the oldest ways of blood dashed on the stones, as if they do not mark themselves with sacrificial death, one and all.)

You turn the wheel. Sunlight glints as you put your shoulders and your back into it. It's painful going, but you don't let the knight step forward. No daughter of giants should need assistance. Not in this. Drums echo from the walls of the keep, the tramp and trod of dancing feet is all around you, and you turn the wheel. From your lips the welcome drips: Lordly Summer, be welcome. Infuse our crops with your light, and allow us our rain in neither excess or want.

(Does he listen? Or must you suffer because it reminds everyone that their life is not free? Is the Risen Christ listening? Does he command the sun to stand still for his prophets? The metal is hot under your palms.)

When the children hand you the fruit, you take your flint knife and cut the flesh open, squeeze them in your hand, let the hot earth-blood drip down. Where it strikes the ground, it is dark and sticky. The little ants and flies will feast. It is better for it to be fruit that is offered up; it was not always so. But if wine can be blood, so can this. In little pots on either side of the idol, smoke curls up, cloying and thick, corn-heads withering into ash: let this be your share, fire, and let this be your share, sun-that-kills. Keep us far from disaster. We remember where our life comes from, and where it will return. (And even the Christians agree that one day you will be dust; they simply disagree on what happens afterwards, and whether you may come back in different shapes and forms. How sad, to imagine that everyone will come back just as they were, all at once.)

And yet doubt gnaws at you. It may be that Summer's answer will be cruel, despite everything you are doing. You cannot march up into heaven and demand his cooperation. You cannot promise these people who look up to you that because they made the offerings, they will be rewarded. It may be that the answer is that the sky darkens yet and the sea rises higher. It may be that night shall be thrice night over you, and the sky an iron cope.

But this is what you can do. And this is what brings them hope. And perhaps because you carry out the rituals just as they have been done for generations, perhaps the tide will turn yet. And so the wheel turns, and the wheel turns, and still the wheel turns.
Marianne!

Slaves and Annunaki alike are being packed into the stands. You have picked, likely out of sheer mischief, one of the University Boxes. So it is that when a gaggle of students on the Honors Track enter, whispering furtively to each other, you are there to greet them. And, ah, look who’s right there!

If it isn’t Celestine Ravenelle, staring you dead in the eyes as her classmates gasp and her Thornback minder bristles. The Thornback declares his intent to go and get the guards in his high, waspish voice, and that’s when the door slams shut behind him.

You have some of the city’s bright young minds in here with you. A captive audience, even. Give them a show, collaborators and brown-nosers and cowards all!

***

Anathet!

The Seneschal’s strikes are more measured, now. His rage is burning cold: you can feel it. He’s furious that you would dare be here. You don’t know your place. If you defy the proper order, the position he’s entrenched his identity inside doesn’t mean anything. But he’s not a rampaging blinded bull, no matter what the symbol of his master might imply.

“If you have come to speak—“ He feints, testing. You don’t fall for it, so he recovers smoothly into a high kick that forces you to bend back over the model of Caphtor. “You had better do so while you have the opportunity. Caphtor? Summon assistance.”

Caphtor bows and winks out, and it’s just the two of you, dancing. He’s not willing to damage the model, which makes it a wonderful centerpiece for your back and forth. One solid hit could send you flying into a wall, and for that reason, you do not allow him a solid hit— but you don’t have any openings on him, either.

“You are degenerate,” he adds, matter-of-factly. “You are diseased. You and Canada Taliv and Marianne.” A lance of silver-white light blows a chunk out of a window shutter, redirected by a clever portal. His glove vents energy in a backwash that makes his wispy veil flutter and his braids tremble. There’s something to remember about how that works. “The priestess of a dead barbarian god, my daughter’s oblivious tool, and anarchy. Go on. Speak!”

***

Canada!

Shamash lands in the arena with the classic superhero landing: on one knee, fist down, head lowered. The shockwave sends sand into your face. It stings.

Then they stand, lift one hand, and bellow so loud that spectators clap their hands over their ears. As if in response, a thunderclap, a blinding flash: a lance falls from heaven neatly into Shamash’s waiting grasp. They spin it almost contemplatively between their fingers. It writhes and shudders as if trying to stop being a spear, barely contained. This is a bad weapon. You don’t want to get touched by it.

“Champions! Esteemed Lord of the Upper Airs! Malicious and Contemptible Rebel!” Jezcha’s sneering voice rings out from the Seneschal’s Box. And there, beside her...

Tirzah sits, listening to all that is going on.

“By command of Most Terrible and All-Consuming Shamash, Breaker of Horses, you fight to... destruction.” Not even Jezcha can bring herself to say death. Maybe even if you lose, you’ll be spared.

You just won’t enjoy it. At all.

Horns blare. Trumpets ring out. Banners are flown. This is a production now. And here you are at center stage.

Good luck.
“The Plousios has suffered major flooding,” Redana says, brightly. “Everything from the old shrine, here, to the cargo holds.” She points at the grand cross-section of the ship with a baton. “As you can see, if the grav-plates here get misaligned, the backwash will flood the engine room, and we’ll be lucky if it only kills everyone inside when that happens.”

She smacks the baton into her palm. “So why don’t we just dive down and vent it into space? Because there’s evidence that there’s crabs, and worse, down there that will invade the rest of the ship if we disturb their nests. That’s why our response has to get rid of both the water and our uninvited guests in one fell swoop.”

One press of a button brings the next slide onto the board, showing the solution. “Hear me out,” Redana says with a sheepish smile. “If we expose the lower decks to the outer airs, we can sanitize them and vent the water at the same time. As you can expect, it’s going to take a lot of manpower to do this right, but when we do, it’ll be the safest and most effective solution.”

The baton strikes the key points like a whip. “There are seventy-five hundred key points that we need to sever using our saws in preparation for separation. Once this is done, we can secure the two halves of the ship with a series of seventy-two cables and then do the final saw work on the hull. We’ll close off the decks using our portable seals, and then we’ll use a series of shaped charges to force the lower decks to separate from the upper. Before you ask, the force of our acceleration through Ocean will keep them together prior to this point. Then we will retract the cables, weld the contact points together, and do a sweep of the lower decks to clear out debris and do inventory.”

Redana beams like sunlight as she reaches her conclusion. “Given the number of points we need to sever, this operation requires the entire crew. While the Master Hermetic and I prepare the cables, seals and charges, all of you will be sawing our ship in half— and then welding it back together better than it was before. If we all work together, we’ll be finished by the time we arrive. Do you have any questions?”

Redana smiles at her audience of one, beaming like the sun. “So how did I do,” she blurts out, before Iskarot can offer questions. “I know this is a lot but I think they’ll see the necessity...”
Canada!

Really, you’ve got nobody to blame but yourself. You fell for one of the classic blunders: the old “snatch them up with air support while occupying all of their attention.”

You’re dangling a hundred feet in the air from one of those animal control grabber things exiting out of a port in the hull of a chariot, which buzzed down low, pulled you off your feet, and then achieved high altitudes while you caught your breath. It’s heading directly for a giant battle arena back where you first challenged Shamash.

If you break out of the grabber... well, that’s a very, very long way to fall. If you try to scramble up the grabber, good luck getting a handhold on the spaceship’s hull. (Because it is a spaceship. It’s just called a chariot because the engines that pull them are like horses. Really, they’re more like podracers from Star Wars than anything.)

This would be a really nice time for one of your teammates to pop up and explain that Shamash is in charge of the fleet and of course he’d have very skilled air support, but there’s just you, the rushing wind, and the city lights far, far below.

***

Anathet!

You interrupt Caphtor as she is relaying a message to the Seneschal and his household advisors. It looks like it’s an all hands on deck situation; the Seneschal is wearing a corset and a loose skirt, the Annunaki equivalent of a sports jacket and reasonable pants for running around to put out fires.

The crisis team here is circled around the scale model of Caphtor. It’s not a hologram or computerized; it’s practical effects, a perfect replica of the city-ship that unfolds like a flower to depict the decks below when necessary. Little figurines, like the toy soldiers nerds paint and play with, represent Shamash, Canada, and a wing of chariots. The assembled Annunaki were so intent on the model and on Caphtor that poor Shelia and Muta’al, over in the dancers’ alcove, were being completely ignored.

You step out onto the luxurious carpet, in your most intimidating form, and the Seneschal’s reaction is immediate. The jewelry on his arm shifts and slots together, crackling with power as he spins on his heel and moves smoothly into Inexorable Bull Form.

The only way to speak to the keeper of the city is by holding your own in a martial arts fight against him and his handpicked advisors in his office, the windows open and letting in the cool night breeze. Which, of course, you knew, which is why you have your staff out and ready.

Heaven or hell! Duel 1! Let’s rock!

***

Marianne!

Chariots scream overhead. Ah, poor little Canada! She’s been caught like a mouse in a trap. And now the time has come for her to die.

In the city below, slaves are herded down streets on foot, rousted out of beds; in the city above, rickshaws and chariots bear Annunaki, just as compelled. It would not do for a single seat not to be full.

How do you make it to your seat on time, o fearful demon of the night airs?
"Tybalt is fine," you blurt out. You do not explain who Tybalt is, or how he thinks himself lord of every sunbeam, and how he got into a fight with a badger early in the spring but now is well recovered. No, you have a priest to deal with. You don't think of Cerwen as a bad person, or a serious adversary, or anything silly like that; you are aware that she is doing her best to understand the world, to do what is right, just like you do. Her saints and prayers and Mary are a different side of a coin, and a monastery is a different sort of coven. Insofar as you are rivals, you are like two players in a game of strike-the-ball.

But this is what you are for. This is yours, and you dig your heels in on instinct and lift your chin. "And you expect me to yield on your say-so, Cerwen? Really?" She's playing from the wrong script; this is how you approach a Father Abbot, not a child of the Old Blood. So you gesture meaningfully at the bundled gifts in the knight's arms.

You don't actually mind yielding. Much. But here she is, encroaching on your rites, and it's not like you interrupt her while she's talking to her Mary and Child. The absolute least she can do is acknowledge the rules that you play by. You offer a gift. You make a request. And you let the Lady of the Low act on your behalf.

Play along, Cerwen. Bend a little like a reed, and the two of you can call upon the Christ-Child and the Wheel of the Year together, asking for mercy side by side; or she can cling to her pride, and watch it break upon the rocks of stony majesty. She'll blink first; you know it.
“The engine,” Redana says, thoughtfully[1]. “If the engine is the solution... wouldn’t channeling its fire through the flooded areas not just flash-fry the crabs and the water but likely destroy all of us, too? Because that’s really dangerous.”

A pause. Redana doesn’t look away from the Hermetic. She’s fixed. Her mind roars like an engine. “No, that’s not what you’re saying. What you’re saying is that the most important part of the ship is the engine. It powers everything else, which has various functions, but it is essential. Only it is essential.”

Her Auspex is running diagnostics and showing her how such a terrible thing might be dangerously done. It would be mad, but perhaps just mad enough to work?

“So... if we cannot safely refurbish the decks below... we detach them. We install bulkhead seals, sever the ship in half, let the sea in space drift forever. That’s a lot of our cargo space and cannons, though...”

***

[1]: or, as Bella might put it, dangerously thoughtful. In the sort of mood where she might find herself marching merrily to a chaotic end, step by step.
Jackdaw!

“What’s yours is mine!” That jab definitely went up a nostril, ack. “Now what are you?”

The wand is withdrawn, but only so that the figure can begin circling you ominously. Glass crunches loudly (just like snow) under their tiny boots. “What is it? Smells like mold. Belongs to her, but even water boils away, yes, yes!”

Around they come again, and the wand jabs you roughly in a kidney. “Hand it over! I don’t care what precious forgotten memories you have safe, all I care is that they’re all mine! Don’t you know the law, numbnuts?”

***

Lucien!

The angel actually seems rather disinclined to follow you once you get up out of the food court, though it’s a close thing; you swear that the last explosion singed your hind end as you dove up onto the broken tiles of a... rather dingy, very abandoned indoor market. Shelves lie empty or prone as far as the eye can see, stall signs impossibly bleached white, the only remaining symbols the signs of a train, everywhere.

The arrow is a bit of a surprise.

It bounces off the tiles a hair away from your head, and you follow its previous trajectory up to a rather singular fellow. He’s wearing something that was once an usher’s uniform in a previous incarnation of existence, covered in tiles stitched carefully onto the fabric. Blackened, broken bones hang from his necklace and the fringe of his sleeves, and, my my, is that facepaint meant to imitate a skull? What artistry!

Seeing that his shot missed, the gentleman in question lets out a long rising-and-falling whoop that sounds eerily similar to the cries of the angel below. From the corridors all around, similar whoops echo.

That probably doesn’t mean “hello, new friend, you have passed the trial of the Angel and are our new shaman.”

***

Ailee!

It was one heck of a gamble, but it turns out that Bees can understand your wiggling dances. Huzzah! Their answer, however, involves a swirling swarm with lights flashing in unison to make glyphs in Prelapsarian Huzzu.

A performance before one’s higher caste, with the tail stroke that specifically means it was appreciated. An enemy, combined with a festival mask (the closest the language can come to a disguise or false pretenses), beneath the interrogative dots. A wickedness (with the sub-glyph for truth to distinguish it from theoretical evil, the problem of), combined with the Seat of Reason (and the Huzzu didn’t believe that was the brain). Clarification, requested urgently.

A thought runs from the flashes of the bees on the walls, regurgitating stony paste and shaping it with their stubby little manipulator limbs, and you can see it swirl into the bees that are communicating with you.

An encore performance, requested. Urgently.

More and more bees are filling the corridor, landing on the walls, and staring at you with those glowing blue eyes.

***

Coleman!

Here you are, staring up at the New Arrivals And Navigation Board. Passengers disembarked: three, in the Galleria, the Interfaith Chapel, and the... throbbing cancerous growth. Ew. Ewwww.

Still, there’s been no recent First Aid logs (though pretty much all the logs are showing EXP. under condition which isn’t reassuring) which means they’re still alive. All you have to do is get them all together, find some safe spot in this nightmare, and prep Sasha for a real run on the tracks.

That’s the thought going through you as the oversized, makeshift carabiner flies through the air. It locks around your neck, and the cable attached to it pulls taut. You’re jerked off your feet, hard, and as you gasp and catch your breath, you’re stepped on. Also pretty hard.

You look up into the figuratively burning eyes of a Wolf. It’s one of the most intense looks you’ve ever been pinned by. She opens her mouth, and the words that come out creak with disuse.

“The train.” She nods at Sasha, waiting below the narrow stairway up to New Arrivals. “It... yours?” The cable tightens by another ratchet. It’s connected to a jury-rigged launcher. If you could just reach out and touch the cable release... “Take with you.”

Her cheeks are gaunt, one ear is gnawed down to the skull, and her clothing is filthy: ragged rags wrapped around her limbs and a colorless, threadbare jacket hanging off bony shoulders. When she licks her lips, her teeth are yellowed.

Now.

Canada!

You have an advantage in this dance, an edge of reactive speed that Shamash (for all their brute-force acceleration) does not. This fight is going to be shatteringly big; you have aroused the ire of a god. Whichever direction you go in, the two of you are going to leave a trail of destruction in your wake.

Outside, it is dusk, and far off down the Road of Shamash the arena is prepared for your triumphant battle. Is that where you want to make your stand, in the place that was prepared for the two of you? Or do you want to cause chaos in one of the Temples together? Do you want to drag him below into the tight confines of the slave-city despite the terrible collateral? Or do you want to bring him to the very palatial estate of the Seneschal?

Conceal. Don't feel. Don't let it show. Breathe in deeply. The world around you is huge and loud and overwhelming. You cannot allow yourself to be this disoriented. She's behind you; she can see the stiffness. You're as frail as a twig ready to be snapped, Constance, you always have been. This knight, she was from the tower that ran by the river.

You remember Lady Sandsfern, don't you? You made a game of spying on her, half-wild river-child that you were, fresh from your mother's side. You made the rivers and fens of the Low your secret kingdoms, and above them all the tower was a constant landmark.

You don't know what happened to that tower; you were away, anointing the secret faces of the sun in a rough cave, the way your mother taught you. And then you stayed away because you were still young, and afraid, and if you did not approach that fire-ruined axle of your youthful roving, you wouldn't have to admit that it was not a forever. That things could fall apart if you didn't look after them.

So you didn't dig for secrets.

And you still don't remember the knight's name.

So instead you allow yourself to grow distracted, accepting gifts with the poise and grace that is expected of you: a soft benediction of sky and earth, the touch of your hand upon theirs, and then carrying it yourself instead of letting the knight do it for you, because then you would have to acknowledge the knight, and show your weakness to her, and that is what you are not allowed to do. You are a daughter of rivers, a daughter of giants, intercessor between mankind and the worlds seen and unseen. You do not forget names and sheepishly admit to being too afraid to pursue the truth.

(You have to take the gifts. It's part of the bargain. It's who you are: you are the person who accepts the need of the people, the need they have to change the minds of the winds and the rain and the wheel. The need to say to yourself: I did something. I did what was expected of me. I gave a gift, I will receive a gift. And there is truth to that, but even more truth to the fact that your acceptance of the gift is as much for their sake as it is for yours.)

Ah, right. You're here already. This isn't really the right place, but it is your job to mediate the practical necessities of the keep market with the old traditions. And, besides, don't all traditions start somewhere? So you've made this the right place. There's an idol that's usually kept in a storage shed to keep the amiable peace between her and the young priest who advises the Duchess, made in the shape of the wheel and the disc. Burnished metal shines in the sunlight, hammered crudely into shape by your own hands (and the blacksmith was honored by the visit, never mind that you had to swing the hammer with both hands and a war cry to rally your strength). It is hung with charms and flower wreaths made by children and lovers, and it is here you will bid farewell to spring's rain and new growth and welcome lordly summer.

Oh. Right. You can't carry the gifts offered to you (and by proxy, the world you all must live in, the land that loves you all, and the great wheel of the seasons) and carry out the ceremony. There's dancing that everyone has to join in, and cutting open fresh fruit (in a gentle echo of older, cruder traditions), and you must prostrate yourself before golden summer and thank the season for accepting your hospitality, in the same manner one thanks their liege lord.

So you have to do it.

You have to talk to the knight.

"Here," you say, and hand her the gifts. It is a process that involves carefully passing them from one set of arms to the other. "Hold these." Where are you supposed to look? You try staring directly at her breastbone, then decide that it's more natural to look at her face, then decide staring directly into her eyes makes you seem confrontational, so you-- don't drop the honey!

You fumble it and, worms below, the noise that comes out of you as you bend half over to catch it! You stop it from cracking open on the cobblestones, but only after making an absolute fool of yourself. You stay there, for a moment, your pulse hammering and your cheeks white hot with dismay.

Breathe in. Breathe out. Be their druid, their firm center point. Be their tower that will not burn.

"Thank you," you say, and pull out a simple kerchief (another gift from another time, put to good use). Each gift goes in, and then, there, a simple knot makes it easily portable. "Thank you," you say again, foolish, trying your hardest to be who you have to be. And then you make the mistake of looking at her face.
Redana is quiet. She lets Iskarot finish, then lets the silence stretch out as she stares into the swirling skies. Someone uncharitable might even wonder if she was even aware it was her turn to say something. But then, lo, she speaks! "How would a follower of the Saffron approach crabs in the lower decks, Master Hermetic? I'm listening."

And she pivots to face him, a surprisingly graceful motion involving using her rear end as a pivot point and her arm as a lever. The heel of her splinted foot makes a forty-five degree angle on the floor, almost perfect. And it's the almost, isn't it? Proof enough that she's not really some perfect champion sprung fully formed from Zeus's brow. She's just a young woman (recovering from a wound that should have rendered her disabled for the rest of her life) almost literally starry-eyed at the sight of the cosmos.

One that has been burned by a grueling educational program, but is still willing to be vulnerable to a Hermetic. If he has any wits, he'll treat her evenly and methodically, helping her to open the doors of a plan herself while sharing his insights; if he is too brusque or condescending, not adhering to the golden mean, she will withdraw slowly but surely.
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