Triple Helix: Part Eleven

Submitted by Christopher Wright on
Going The Distance

Whatever the thing is, it isn’t obviously mechanical. While it appears to be made of metal, it has no seams anywhere—no joints to allow the arms and legs to move. But it does move, and it moves with unexpected fluidity and speed: it leaps away from the group, landing in front of the ruins of Warehouse Six, and sinking low into a battle-ready crouch.

It moves like a living thing, CB thinks. The arms and legs don’t just move back and forth, they rotate like actual limbs, and even the torso bends and sways and twists for extra balance.

“I thought you said you blocked their teleporter,” Jack says.

“I did,” Street Ronin says. “It is. I don’t understand what’s going on.”

“It’s not teleportation,” Jenny says. CB wonders how she got that bruise. “At least not exactly. The sound and color were different. This is magic, isn’t it? CB?”

CB stares at the big purple rune on the thing’s chest.


“Yeah… it’s magic.”

Triple Helix: Part Ten

Submitted by Christopher Wright on
Riding the Waves

Jack Barrow and Vigilante stand in front of Warehouse Two’s heavy outer door, arms crossed, wearing almost exactly the same frown.

They completely ignore the sound of Red Shift destroying Warehouse Six. They react only when it finally goes down and dirt, stone and dust roll over them in an immense cloud—even then, all Vigilante does is wipe a layer of grime off his visor, while Jack shakes some of the dirt out of his hair.

They ignore CB’s warning of the soldiers on the roof, listening to the sound of energy weapons discharging, as they continue staring at that door.

“It’s not a regular door,” Vigilante finally says.

“Really isn’t,” Jack agrees.

Triple Helix: Part Nine

Submitted by Christopher Wright on
Escalation Games

Phase One.

There are eleven buildings in the warehouse complex—four to the south, four to the north, one east, one west, and one much larger building at the center. To simplify communication, they refer to the buildings by number. The southeast warehouse is one, and moving west is two, three, and four. Four is the first building they came to when they emerged from the storm—the one CB is standing on. The next row, east to west, is five, six, and seven. Six is the large building in the center of the complex, and that’s the building all the trucks had stopped in front of the day before. Finally the north side, from east to west: eight, nine, ten, eleven.

Street Ronin and Zero crouch against the west wall of Eleven. Zero is typing furiously on a small, ruggedized laptop connected to a thin cable that travels down the length of the warehouse wall and into the ground.

Turning 44, and the State Of Various Things

Submitted by Christopher Wright on

Usually when I have a birthday I do something silly like post my age in binary, or hexadecimal, or occasionally I post a link to a cause I'd like people to support. Once I asked people to review my books as a birthday present. I'm not doing any of that today, though I will note that 44 doesn't actually feel like 44. It doesn't feel like 34, either. It certainly doesn't feel like 24. I don't know specifically what it feels like, it just doesn't feel like the vague idea I had of 44 when I was every other age leading up to 44.

Triple Helix: Part Eight

Submitted by Christopher Wright on
Warehouse Complex, Above

The Sorrel-Eades warehouses, a small complex just north of the Farraday City Boardwalk, have been abandoned for years. It was declared an EPA Superfund site a decade ago, when a truck dangerously overloaded with industrial chemicals exploded outside the center warehouse building. It’s well known among the locals that anyone who goes in the S-E complex dies, and some of the earliest examples of that death were graphic and frightening. But the EPA never actually sent anyone to clean it up—whether they forgot, or the lords of the city forbade it, nobody knew. The end result was the same: nobody went there unless they actually wanted to die.

The truth of the matter is that the chemicals have been gone from the complex for years. When Haruspex Analytics wanted to find a place where they could operate in anonymity, they chose the most environmentally inhospitable location they could find, cleaned it up, and made sure nobody knew it was clean. In the end, it was simply one contaminant being replaced with another, and it still killed anyone who came too close or stayed too long. In the last few days, however, locals have noticed things happening there—specifically trucks driving up to the center building, and armed guards unloading sealed containers. So far no one has worked up enough curiosity to start poking around, and the storm currently engulfing the city is a far more pressing concern.

A storm, it should be noted, that has left the Sorrel-Eades complex relatively untouched.

All eleven buildings sit comfortably within the storm’s eye. The old chain link fence that closed off the complex from the rest of the city is gone, ripped to shreds and flung across the city by the eyewall separating the complex from everything else, but the warehouses themselves are untouched, an oasis surrounded by a swirling wall of screaming clouds. The clouds themselves are terrifying, moving at such speeds, with such a small circumference, that they resemble the inside of a tornado—smooth, almost marbleized. At the higher elevations, lightning sparks so furiously that the light filters down through the clouds, so that even at ground level they glow with a faint green light.

It is into this scene that Jack Barrow emerges from the eyewall next to the southeast warehouse, soaked to the bone, carrying Red Shift and Jenny Forrest, one under each arm. He hops up onto an old loading platform as if the weight of the two were nothing, and sets them down against the warehouse cinderblock wall. Red Shift immediately staggers to his feet, using the warehouse wall to steady himself. Jenny stays where she is, fumbles with her chin strap, and removes her helmet. Her braided hair is soaked, and she wordlessly turns her helmet over, watching the water spill out.

“That… was undignified,” Red Shift says.