![[CR Media] FYSA: 80% off of CR product on WizKids store](https://preview.redd.it/46k02j1bqshh1.jpeg?auto=webp&s=db0e60f1288dc86af7153c56c12bbb85789ea126)
MODS: I'm not affiliated in any way with WizKids, just wanted to share the deep discounts for CR minis on WizKids store. I'm not even posting a link so plz don't delete!
Hey folks! All of the CR merch and minis are discounted 80% on the Wiz kids store. Just grabbed about $600 painted minis for <$100!
Hope this helps some of y'all round out the collection for your home games!
Hey folks,
I am going to purchase my first MTG cards ever. I want to start with a decent commander dino deck and I found this one at moonveilgames. However, I am also seeing decks like this Pantlaza, Sun-Favored [Pantlaza, Sun-Favored] and this Etali, Primal Conqueror [Etali, Primal Conqueror] for sale on eBay.
I really don't care right now about foil or specific art style, just want to collect the cards for commander and standard play at my buddies MTG nights. If you think I should get one of these or have a better suggestion for some starter decks please let me know!
I got smoked last night by a dino deck in MTGA Standard Ranked. by turn three or four the player had a ton of big dinos out on the field from some weird summoning play using a red Velociraptor opener and then Raph & Mikey troublemakers. Then a ton of these Spinosaurus tokens came into play, and they were all summoned without land usage and could attack. I still can't figure out how they spawned so many dinos in one turn.
Anyways, I want this deck. I have always been a huge dino nerd, but just recently started MTGA and I did not know dinos were so powerful in standard meta.
Please educate me and teach me how to build these dino decks!
Hey folks,
So I have the opportunity to use a private range to facilitate an NVG Course of fire beginners course. I am asking for input on the stages of fire we should host for the training.
I myself have been shooting under NVGs for about 100 hours over the last few months, but have yet to host multiple fundamentals for shooters.
I have some basic ideas of what the stages would be but would like to hear opinions from others WHO HAVE SHOT REGULARLY under nods. Entire course of fire will focus on rifle fundamentals under NVGs.
Course of fire so far:
Mozambique drill at 10 yards low ready. Emphasis on acquiring sight picture on target, and understanding dynamics of shooting under NVGs with orientation around rifle platform.
Mozambique drill, 1 shoot, two no shoots. The shoot and no shoots will be wearing generic clothing, RSO will call the shoots shirt color/pattern, shooter must turn, identify shoots no shoots, and properly engage appropriate targets. Will test target identification and recognition under nods.
Mozambique drill, 2 shoots, offset light. Test the shooters ability to overcome potential flash disorientation from antagonist using white light. Won't shine directly, but at an offset to get shooters familiar with working around antagonistic white light
Mozambique drill, 2 shoots, barricade and barrels, test shooters maneuvability and peripheral awareness with obstacles while under nods.
If you see areas of improvement or potential scenarios fixated on practicality, please let share!
Need some guidance on the best way to install this steel bar between two posts.
I don't want to remove the cross bolts now that they are load bearing and anchored. Not sure I could get them to align again.
I know it's not exactly a deck, but it's the same fundamentals.
Please grace me with your knowledge and suggestions!
Pics for attention.
I'm a blind boi. I know I can tune my EOTech Mono NV to match my prescription, but then my other eye is blind.
Also, kind of a pain in the ass to put my glasses on and off every time I want to see.
Right now my daily frames and lenses do not conform and wear well under helmet and tube. I can do it for an hour before my head is throbbing.
So, my other blind boys, what are you using under nods? Prescription Wiley Xs? Prescription motorcycle goggles?
I have a ln HSA full to the brim and vision insurance so nothing is to expensive (ex: one frame with swappable lenses for daylight vs under nods).
Extra question: anyone have recs for anti reflective lenses? Don't want my coke bottle glasses giving away my position in the tree in your backyard.
Big thanks in advance.
So, the amount of feedback I have received here has been the best I have found on reddit. Especially for being such a small community in comparison to the other writing subs.
My question is, where else do you find your stories receiving valuable feedback?
I have tried crossposting onto several subreddits, and followed their guidelines, and usually the post is just deleted with no reason given.
The few places I have been able to crosspost without it getting deleted seem to be dead Reddits.
(Music created by me to listen to while reading)
The first recorded signal arrived in 1978, though nobody knew it then.
It came in under the noise floor; buried below solar hiss, beneath lightning discharge, and the long, soft breathing of the planet’s magnetic field. A thin tremor, eleven seconds long. One chord. Not a clean sine wave, not a pulse, not speech. Something in between. Nimbus-7 recorded it, along with the microwave radiometry of atmospheric storms and fracturing ice shelves.
No one made note of it. No one had reason to.
The second came eleven years later.
Then the third after another 11 years, and then the fourth.
By the time the fifth note came through, an archival machine learning model in New Mexico had been trained to review the cataloged recordings for patterns, something no human could do within the lifetime of a single career. It reached back through half a century of discarded noise and found the shape of a rhythm spread across time.
Five notes.
Forty-four years.
A song too slow to notice.
Dr. Elena Varga saw the correlation at 3:17 AM, May 24, 2027. The cold desert Plains of San Agustin were blue under the starry night. Here, the National Radio Astronomy Observatory offices were a lonely pop up of outdated government facilities. NRAO’s Karl G. Jansky Very Large Array consisted of twenty seven antennas arranged in a “Y” formation. Each of their dishes were 25 meters across, all directed towards the heavens.
Within the quiet offices, Elena stared in anticipation at the monitor. The model was finishing its translation of the binary radio wave data. The coffee in the paper cup beside her keyboard had cooled to the taste of pennies.
The pattern appeared as five pale lines on the screen.
Forty-four years squeezed into six seconds.
With an inhale to brace herself, she played the translation the model had produced.
The speakers gave a varied and broken phrase. Varied, not uniformed. Like a song.
Elena felt bile rise in her throat, excitement and nausea mixed together.
She stopped the playback. The room seemed to keep vibrating after the sound was gone.
Two months later she stood beneath the earth of Paola, Malta, in a chamber cut from limestone older than writing. The Hypogeum of Ħal Saflieni breathed around her, a subterranean temple and necropolis, some seven thousand dead entombed. Its walls held the damp of buried centuries. Having been off limits for decades, her team stood in Tyvek coveralls amidst the heritage site. Her headlamp showed red ochre stains in the grooves of stone, niches rounded by hands no one had named, openings that led into darker caverns. Despite Malta’s best efforts to preserve it, the world heritage site was decaying. Seismology readings indicated that it was under a constant vibration, like an eternal echo reverberated within. Even the mummified remains showed this, flesh and wrappings had been quietly rattled off the bones. Within a year, it was expected that Ħal Saflieni would crumble into itself.
Behind her, Dr. Mateo Ibarra cradled a recorder against his chest.
“You feel that?” he whispered.
They were in the Oracle Room. The Maltese archaeologists had warned them about the acoustics before they descended. Certain tones bloomed there. A male voice at the right pitch could fill the chamber and press against the bones of the listener. Elena had read the measurements. Resonance near one hundred and ten hertz. Such intention in the chamber's design, she thought. What was it like to carve this out? With primitive tools? Such precision, before there were even records of instruction to follow.
Still, when Mateo hummed softly, the walls answered.
The note moved through the stone and came back larger.
Their Department of Energy security liaison, Caleb Rourke, lifted his hand. Several armed contractors behind him scanned the chamber through plastic visors
“No more humming, Doctor,” he said.
Mateo lowered his eyes. “Right. Had to hear it for myself, though.”
The detection equipment stood on tripods along the floor: magnetometers, low-frequency antenna loops, thermal cameras, accelerometers, a portable laser interferometer with its casing beaded in condensation. Cables ran like black roots over the limestone.
The signal was not supposed to be active for 6 more years.
That was why Elena had come.
To find the instrument before it played again.
She moved deeper into the chamber, one gloved hand near the wall, not touching it. Her breath sounded too close. Her coveralls crinkled and squeaked at the shoulders with each movement. Every small movement returned to her in softened fragments.
The magnetometer spiked.
Mateo looked down at his tablet. “There.”
The tablet display stuttered.
A smear appeared in the air ahead of them.
Elena stopped.
At first she thought it was distortion from her visor. A warped patch of space. Heat shimmer without heat. Dust and darkness bending around a point shoulder-high in the room.
The cameras glitched. Monitors showed bands of static where the chamber should have been empty.
The smear unfolded.
Not into flesh. Not into light.
Into pattern.
A torso. Long arms. A head without features. No legs below the pelvis, only tapering interference, as if the body ended in a column of pressure. Its surface was not a surface. Color passed through it in vibrating sheets, blue to violet to something sharp at the edges. It hovered half a meter above the floor.
One of the contractors swore.
The empty head turned toward him.
No eyes. No mouth.
The radio receiver screamed.
The sound came in tones stacked on tones, twisted through one another until they resembled language only because the mind begged for language.
It was gibberish, but ordered gibberish. Notes arranged with terrible care.
Mateo’s face had gone slack.
“I can hear it…singing,” he said.
“Mateo, no assumptions,” Elena said.
The thing lifted one hand.
The chamber fell silent.
Not quiet. Silent.
Elena heard nothing. Not the soldiers. Not the cables. Not her own breath through the filter.
Then the entity gave one note.
Low. Pure. Exact.
The stone drank it and returned it.
Elena’s knees almost buckled.
The thing held the note for eleven seconds. So soft, in the frequency of human hearing, billions of hertz less than what would be needed to be heard by the Nimbus-7.
Then it lowered its hand and unfolded both arms out. An open gesture, an invitation, or offer.
Rourke waved a flat hand downward, the contractors held their weapons at low ready.
The entity did not move.
“It’s offering something, compliance, surrendering?” Mateo said.
Rourke looked at him.
Mateo swallowed. “I think it’s surrendering.”
---
They built Project ORACLE in under two years. It sat in a dry basin outside Socorro, New Mexico, where the old VLA dishes faced the sky like white flowers waiting for rain. Publicly, the facility was presented as the Next Generation Very Large Array, a deep-space communications project tied to atmospheric research. Privately, it existed to identify where the entity’s signal was going—and whether anything was answering.
The original 2035 construction deadline would have missed the next signal by two years. After discovering the first non-human terrestrial intelligence, the timeline changed overnight.
ORACLE’s primary telescope rivaled even Arecibo. Locals called it El Radar. Twelve hundred feet across, the reflector dish covered twenty-six acres of desert in aluminum mirrors. Above it hung the suspended receiver platform, held aloft by three concrete pylons and two dozen steel cables. Seven hundred tons of antenna and instrumentation floated over the bowl. Pivoting like a claw machine, the azimuth arm hung from the belly of the receiver platform. Its bulb of secondary mirrors and antennae enabled finely tuned adjustments for aligning the telescope with inbound radio signals.
The existing NRAO structures were repurposed. A runway and hangar were added for government aircraft, along with expanded motor pools for traversing the desert basin. The monitoring station itself—labs, quarters, armory, offices, and the entity’s chamber—had been carved directly into the basalt face of the mesa overlooking El Radar. Narrow windows caught the dish-light during the day while dozens of staff monitored telemetry and waveforms inside.
Elena directed the project. Rourke oversaw site security. To her surprise, he remained cooperative, eventually becoming one of her strongest advocates before the board.
Transporting the entity proved unsettlingly easy.
After the initial contact, it made no attempt to communicate or resist. Worse, it remained invisible to the naked eye unless viewed through real-time RF systems. Mateo became the first person able to locate it consistently, even through walls and sealed chambers. He described it as sensing an old CRT television somewhere in a house—not hearing it exactly, but feeling a change in the air.
The entity only left the Hypogeum after the arrival of an electromagnetic containment capsule. Rourke claimed it had been successfully secured for transport, though Elena later understood the capsule had never truly contained it. Nothing they could construct likely could. The capsule existed to hide the entity from the world and provide the illusion of control to the agencies overseeing the operation.
Still, the creature chose to remain inside.
Elena often wondered if that was worse.
The Anechoic Chamber at ORACLE resembled no ordinary prison. The outer shell was a Faraday enclosure layered with copper mesh and conductive foam. Beneath it, seismic dampers canceled footfalls, wind, and distant traffic. The interior walls disappeared beneath black acoustic wedges. The floor hung suspended over darkness.
At the center stood the lattice: infrared beams crossing empty air, SQUID arrays in cryogenic housings, phased antenna rings, magnetic coils, and vibration-isolated interferometers. The instruments did not appear to restrain the entity in any meaningful way. They merely gave reference to it.
On the monitors, it appeared as a humanoid absence rendered in false color, a figure of turbulence and harmonic decay. To the naked eye it was only a bruise in space. Cameras saw static. Thermal imaging returned contradictory temperatures. Lidar produced impossible distances.
The creature hovered in the lattice and waited.
Mateo began calling it Orpheus. The name stuck.
---
Sloane Richter built the translator within a year of moving Orpheus to ORACLE.
She was tall and narrow, all elbows and shadows, with pale hair shaved close to her skull and burn scars webbing the back of her right hand from a lab accident. She disliked meetings, speculation, and any sentence beginning with theory.
The “translator” was not really a translator. Sloane insisted on this constantly.
“It maps frequency clusters onto visual and phonetic approximations,” she told the review board. “It does not understand meaning. It identifies recurring structures, assigns provisional associations, and tests for confirmation.”
Rourke leaned back in his chair. “So it translates.”
Sloane stared at him.
Elena intervened. “It gives us a structured output.”
The first results were useless.
ORPHEUS: 104HZ / 311HZ / 622HZ / RECURSIVE FORM
But over time, patterns emerged. Hours of static became recognizable structures. Orpheus responded when signals were repeated back correctly, and eventually simple key-value associations began to stabilize.
On a cloudy October evening, Elena, Sloane, and Mateo sat together in the observation room for the Anechoic chamber while recordings of the previous five emissions played through the input array. As the final note sounded, Orpheus twitched to stillness above the spectrum analyzer.
ORPHEUS: AFFIRMATION / [KEY-VALUE ERROR]-SONG / BELOW / CONTINUE / NOT-YET
“Ask what that unknown key is,” Elena said.
“Already there,” Mateo replied.
By then they had assembled a rough dictionary of what Mateo called Orpheusisms: recurring waveforms tied to provisional meanings. Every so often a new key appeared with no associated value.
ORPHEUS: [KEY-VALUE ERROR]-IS-[KEY-VALUE ERROR]
Mateo rubbed his eyelids in exhaustion. “Are you incapable of abstraction, or are you messing with us?”
Orpheus pulsed once.
LOCK.
Mateo frowned. “Sloane, check the waveform alignment.”
“Already did.” She nodded at her monitor. “Looks right.”
The signals for SONG and LOCK were deceptively similar, and the translator occasionally confused adjacent clusters.
Mateo fed the LOCK signal back alongside a sequence from an old hymn.
Before the playback finished, Orpheus interrupted.
SONG / NOT-LOCK
“What does that mean?” Rourke asked as the observatory doors sealed behind him with a heavy metallic hiss.
Mateo sat forward, eyes wide.
“It’s approximating for us.”
Elena looked at him. “Run it again.”
Orpheus repeated:
SONG / NOT-LOCK
“Now play the signals from the Hypogeum,” Elena said.
Mateo complied.
[KEY-VALUE ERROR]-LOCK / NOT-SONG
“Mix them out of sequence.”
Mateo reordered the tones and transmitted them again.
NOT-LOCK / BAD / SONG
No one spoke for several seconds.
Rourke broke the silence first.
“It's a combination, Director.” Rourke’s mouth was crooked, chewing over his next words. “A song is composed of notes, chords, and basically mathematical values. A sequence. There’s a right sequence, and then everything else is a wrong sequence.”
“Just like a combination for a lock,” Mateo muttered.
The room was silent. They all wanted to ask the same question, but each feared the answer. Mateo entered in the radio wave from Orpheus as the key with the associated value, COMBINATION.
---
Orpheus was cleaner now; more tangible to the human eye.
Orpheus had no voice, but it began to reproduce any tone fed into the Anechoic chamber. Perfectly, even if in a stuttering cadence. Human voices, violin harmonics, engine noise, keypad beeps, birdsong, emergency alarms. It did not merely mimic sound. It returned the sound purified of accident. Every wavering note came back corrected.
They discovered that it could mime rhythm, as well.
When Mateo tapped on the observation desk, Orpheus responded by shifting its body in exact timing. Shoulders dropping and rising, hand tilting back and forth, head twisting. Motion without muscles. The gestures were exact and strangely theatrical.
“He’s part of the Blue Man Group,” Rourke would jest.
It learned to conduct while being observed, instructing patterns before anyone could teach it to them. Mateo often commented that Orpheus would applaud or bow, though, in its own unique way.
All of this, yet it had no face.
This remained a constant fact, blooming into a problem.
Dr. Anika Bose noticed it first.
“People keep imagining expressions,” she told Elena.
They stood in the observation gallery above the control room. Below them, technicians watched sensor feeds and signal maps. Beyond the sealed wall, Orpheus floated unseen except through translation.
Elena looked at her. “That’s normal pattern projection. We do that to everything we interact with, doctor.”
“It would be,” Anika said, “if they agreed. Even if they just slightly agreed.”
Elena waited.
“Mateo says it looks curious when Sloane says it looks lonely. Two contractors last week refused to enter the Anechoic chamber because they said it was angry. They couldn't even see Orpheus. But in here, I was observing it. He seemed to be at rest.”
“He? It has no defining sexual features. It has no face, this is all natural personal impression, Anika.”
“I know. But why do we all insist on it? I've heard you refer to it as seeing us, looking at us, frowning, smiling. What do we do when someone pities it, cares about it?”
Anika was small, calm, and precise, with dark hair cut at her jaw and a habit of folding her hands before giving bad news. She dressed more like a librarian than a neuroscientist: cardigan, flat shoes, soft colors that looked out of place under the white facility lights.
“We should all care deeply about what we observe here, doctor. Every observation is reported, changing the direction of entire governments, trillions in spending,” Elena counseled, a hand on Anika’s shoulder. “How are the cognitive reports?”
“Worse near the chamber. Worse after tonal exposure. Sleep disruption, auditory persistence, pattern hallucination.”
“Hallucination?”
“They hear notes in appliances. Door hinges. Tires on gravel. Their own pulse.”
Elena looked back at the monitors. “We expected resonance effects.”
Below them, Mateo sat at Station Three, headphones around his neck, fingers moving on the desk in silent rhythm.
Tap. Rest. Tap-tap. Rest.
Elena watched him.
“When is the next emission?” Anika asked.
“Eighteen months.”
“Are we still on track to amplify it?”
“Yes, although, Orpheus has yet to respond to prompting for simulations. Not sure yet if he—it doesn't understand, or if it's ignoring us.”
“Great,” Elena sighed, pinching the bridge of her nose.
---
A month later, during a low-staff maintenance cycle, Sloane entered the Anechoic chamber vestibule without clearance.
She removed her shoes. Removed her watch. Removed the small cross from beneath her shirt and placed it in the gray tray beside the door.
The guard on duty, a young airman named Price, later claimed the last thing he remembered was a low reverberating pulse before dizziness forced him to sit down. Review of the footage showed Sloane had not entered a pin into a single keypad on her way from her room to the chamber. The doors opened as she approached. By the time security reached the vestibule, Sloane was inside, standing in socks on the mesh wire floor.
Orpheus hovered before her. The laser grid bent through its torso in hair-thin red lines. Elena arrived breathless in the observation room, Rourke behind her with two armed men.
“Lock it down,” Rourke ordered. “Seal her in.”
Mateo protested, “Wait, we don’t know‒”
“She made her choice.”
Failsafes engaged. Tungsten locking rods slammed into place around the vestibule doors. Sloane didn’t react. Her words appeared on the emergency transcription feed, a safety redundancy against the potential cognitohazards the board feared Orpheus was capable of.
“Show me,” the transcript read.
Orpheus tilted its blank head.
Sloane’s eyes watered as she smiled. Relief. Her body rippled suddenly. Clothes oscillated as if a subwoofer boomed beside her. Skin vibrating in visible waves. She screamed. No sound reached the observation room, but the instruments erupted. Her heart rate spiked. A three-thousand-hertz oscillation tore through the chamber sensors as she screamed.
Sloane collapsed. Orpheus returned to the center of the room.
After an hour they were able to retrieve her, she spoke only in tones. Burst vessels stippled her skin in dark pinprick bruises. Blood leaked from her ears, nose, and eyes. She spoke only in tones now—soft vowels without consonants, throat clicking and humming while her eyelids fluttered endlessly closed.
Anika watched from the infirmary doorway while Mateo sat beside the bed, writing down intervals as Sloane vocalized them. Leather restraints bound her wrists to the frame.
“This is not communication, Mateo,” Anika said.
He didn’t look up. “I think it is.”
“She’s severely injured. Her brain is swollen. This could be damage, not language.”
“She’s learning something.”
Anika crossed the room and took the pencil from his hand. Mateo finally looked at her. His face seemed older than it had that morning. “You really don’t hear it?” he asked quietly.
“No,” Anika snapped. “I hear my friends losing their minds.”
Mateo withdrew another pen and resumed writing. As Anika turned to leave, she noticed Rourke standing beyond the infirmary glass. He waited until they stepped into the corridor before speaking.
“You’re right, doctor. More staff are claiming to hear it.” He pulled a pack of L&M cigarettes from his jacket and tapped one loose. “Some are hurting themselves.”
Anika said nothing.
“Two doors down, I’ve got a technician who drove a screwdriver through both eardrums.” Rourke lit the cigarette as they stepped outside into the desert night overlooking El Radar. “Claims all he can hear now is the combination.”
Moonlight washed silver across the dish below.
Anika crossed her arms. “What’s the board’s contingency plan if this gets worse?”
Rourke exhaled smoke into the cold air and raised an eyebrow. “An intelligent, immortal, non-human entity? Discovered in a necropolis; likely making another one here?” He flicked the burning match head over the railing. As it sailed through the night down to the desert floor, Rourke whistled a high note down to a low one. When the tiny flame had disappeared he turned to Anika, miming an explosion. “Destroy and deny, doc.”
---
The final month became preparation.
El Radar hummed louder than ever before. Buried transmission lines warmed beneath the desert. Capacitor banks the size of buildings filled behind blast doors. The official plan called for a narrow transmission beam aligned along the vector of previous emissions. When Orpheus produced the next chord, ORACLE would record it across every measurable spectrum.
A chord sent outward. A harmonic lock maintained. That was the working theory. Whatever the lock restrained remained unknown. Orpheus refused to answer direct questions about it, ignoring them as if they hadn’t been asked. Speculation filled the silence instead.
Orpheus grew more active as the date approached. It hovered near the Anechoic chamber wall closest to the transmission wing. Its waveforms had sharpened. In translation its body held more stable human proportions now: shoulders, sternum, long arms. The head remained blank, but not empty. A cavity had formed through it, like a hole in a needle. Since Sloane’s intrusion of the chamber, there had been nine suicides in total. Many claimed to hear Orpheus at all times of the day now, even after logs verified that Orpheus’s waveforms and sounds remained in the chamber.
Anika called them predictive hallucinations.
Mateo called them grace; receiving what they did not deserve.
On the seventh day before emission, Orpheus spoke through the translator without prompt.
LEAVE / NOT-AMPLIFY-HERE / WRONG-SKY
Sloane, still on restricted duty, stared at the output.
Rourke read it aloud. “Not amplify here.”
“Ask where,” Elena said.
Sloane entered the sequence. Three rising tones sounded out.
Orpheus answered immediately.
BOWL / BELOW / NEW-SKY
Mateo whispered, “The Hypogeum? But that collapsed years ago, we told him‒”
WRONG-MOUTH
It was as if the air went out of the room. Could it always hear us in here, Elena thought.
“We aren’t letting it out,” Rourke said. “We hardly have control of it inside the Anechoic Chamber. No telling what it’ll do if it is free to roam.”
“You only contained him because he allowed it, sir,” Sloane mocked.
“Even more reason it stays in there. It was surrounded by several thousand corpses in the Hypogeum. We don’t know if that’s a result of proximity.” Rourke shook his head, “It stays in the chamber.”
The entity turned toward the observation wall. The translator updated.
LEAVE / NOT-AMPLIFY-HERE / WRONG-SKY / BOWL / BELOW / NEW-SKY
Rourke stepped closer to the console. “Or else what, Orpheus?”
Then every speaker in the control room popped, and emitted the same low tone, not loud, but audible. Every light seemed to dim.
The same text repeated over and over.
HE-WAKES / HE-WAKES / HE-WAKES
“Who?” Anika whispered.
The answer appeared immediately.
AZATHOTH
The spelling flickered violently across the monitors, unstable even to the translator.AZATHOTH / AZA-NOTH / AZANT—
The screens went black.
---
On the day of the emission, the escape began with the keypad outside Anechoic Chamber Access Vestibule Two. Security logs showed no breach. No forced door. No override. Only buttons pressed in the correct sequence. The corridor camera showed no one standing there. Only distortion. A shimmer across the keypad, the tones were barely audible on the recording.
The acceptance tone chimed. Doors slid apart.
Orpheus moved through the facility like a conductor following sheet music. It did not hurry. It had no legs with which to hurry. It drifted down corridors in a column of visual noise, bending fluorescent light around itself. Cameras tore into bands where it passed. People saw whatever their minds could survive witnessing.
Airman Price saw his mother’s face without eyes.
A lab tech saw a choir made of fiber-optic cables.
Rourke saw waves crashing back and forth against the corridor walls. He and a detachment of armed contractors had moved to intercept. One carried a drone disruption transmitter.
Another, a directed EMP device. Small arms fire did nothing, but when the electronic warfare systems activated, Orpheus froze in place as though it had struck a wall.
Orpheus replied.
The note did not detonate the weapons so much as persuade every spring and stamped piece of metal in the room to remember its tolerances. Primers popped on ammunition in magazines. Grenade pins trembled free. The weapons came apart in tiny, precise failures. Detonations eviscerated some of the men, fragmentations perforating flesh. One of the contractors dropped his disassembling firearm and attempted to retrieve the EMP device. Orpheus directed another chord at the man. Bones oscillated out of flesh in an instant.
Elena saw the Oracle Room in her mind. Wet limestone. Red ochre. A faceless figure waiting beneath the earth. A stage designed to amplify a musician's performance. An eternal audience of several thousand dead.
The facility attempted sectional lockdowns, but Orpheus had learned the voices of the doors. Every keypad tone differed by fractions: worn plastic, voltage drift, speaker age, casing resonance.
A door was not a barrier. It was an instrument with a correct phrase.
Mateo met it at Junction C. Elena saw him on the security feed, standing in the corridor with both hands raised. No badge. No weapon.
“Mateo!” she cried into the comms. “Get away from it!”
He did not respond. Orpheus approached.
The corridor camera trembled.
Mateo wept, hands outstretched. He sang; a soft, human, fragile melody. The kind of melody someone might hum to a child half-asleep in bed.
Orpheus stopped. For one impossible moment, Elena thought it might stay.
Then Mateo’s throat changed shape. The sound deepened beyond the limits of his body. His jaw opened too wide. Blood gushed from his nose in dark pulses. Still he sang—or something sang through him. It was as if Orpheus was conducting him. It raised one hand and touched Mateo's forehead.
Mateo disassembled. Not violently, like a structure losing cohesion. His outline unraveled into shifting bands of color and interference before folding back together on the floor.
The entity moved on.
Elena reached Mateo three minutes later. He was lacking an entirely human composure. It was something wearing him, rearranged, orchestrated. Stretched out too far, too thin. Pupiless eyes tracked nothing. Hairless skin shimmered; tiny opalescent scales moved across the flesh in waves. Fingers writhed on the ground, boneless. Mateo’s lips moved around intervals Elena couldn’t hear. She could only hear her screaming and the klaxon alarm ringing.
Anika yanked Elena away.
“C’mon, we have to get‒” Anika was cut off by the intercoms.
“Director,” Rourke erupted over the intercom, the mic flanged and peaked.“I'm sure you are aware, but the facility is compromised. Our benefactors will take contingency actions, unless we can eliminate the threat.”
Elena heaved between sobs, bracing herself against the corridor wall.
“Elena, we need to destroy ORACLE.”
Anika gasped, “Jesus, please, no.”
“Elena—they’ll erase everything within a hundred miles if we don't stop it. They’re terrified of it. We need to—”
“I understand, Rourke,” she looked back at Mateo and heaved. He was undulating a horrific sound as he tried to stand. “We’ll stop it.”
“It was a privilege to work with you, doctor. Boys and I will try to keep it occupied.”
Elena raced to the manual override terminal in her office. The override would engage after a specific Simplex button combination. A mechanical ignition would race from her office and initiate a chain reaction of explosions throughout ORACLE. The facility would heave up the top of the mountain and vomit it out onto the telescope. Orpheus would be buried beneath several million tons of sandstone, another necropolis for it to wait in. She would be murdering whoever was left alive inside, but would save the lives of hundreds of thousands, perhaps millions.
Elena breached her office door, Anika tailing behind. Both shrieked as ear splitting chatters of gunfire echoed out of metal corridors around them. Screams of dying people and reverberations of explosives made her wince and twitch with each step. Elena removed the false vent cover under her desk.
“Please, God, forgive me.” She looked up to see Anika nod with reassurance.
Elena shuddered as tears streamed from the corners of her eyes. She was going to murder her coworkers, every friend she had made over the last decade. All because some government officials were huddled together now and could not hypothesize an acceptable alternative. She pushed the black, pill-shaped buttons in the sequence she had memorized for this eventuality.
The last button in the sequence compressed. Elena squinted her eyes shut with a sob.
Vibrational waves of sound washed over her; washed over ORACLE.
INANE / INEVITABLE
Elena’s office did not erupt in veins of fire.
The last button ejected out, its spring dribbling down to the floor. The rest followed. The klaxon ceased to wail. Charges failed to ignite. Blast doors jammed half-open., gunfire died.
OPEN-SKY / OPEN-MOUTH
ORACLE’s exterior doors slid apart. The cable bridge for El Radar’s suspended receiver platform stretched out, shifting in the heat mirage of the bowl. The azimuth arm shifted in alignment.
Orpheus approached.
---
They found Sloane in the control room.
Elena stumbled into the control room behind Anika, “Don’t stop it!”
Sloane almost laughed. “We couldn’t if we tried.”
She was alone at the primary console, typing with her burned hand and sniffling.
“What are you doing?” Elena asked. After the failed detonation, she and Anika had dashed to the command center. Each of them knew what the other had seen in that last pulse from Orpheus. . Sloane never looked away from the monitors on the terminal.
“Opening the new sky.”
Elena crossed the room and grabbed her shoulder. Sloane burned with fever.
“He came with us for this. To amplify the harmonic lock. Orpheus knew what we would build after we found him. Just like they did below Malta.”
“ORACLE’s array was designed to track the signal,” Elena said. “Not transmit it.”
Sloane gave a weak smile. “Saw you tried to blow us up.”
“I—”
“I would've done the same, before.” Terminal windows flooded the screens. Sloane moved through radio bands and satellite relays with frantic precision: VLF naval systems, aviation bands, weather broadcasts, GPS spillover, emergency frequencies, NASA relay channels, commercial broadband constellations. Every mouth humanity had bolted to the sky.
“He showed me the plan,” Sloane said. “He showed me you’d understand.” She motioned to a handwritten list beside one of the terminals. “Enter those channels, that’ll finish the HAM NOAA channels.”
Elena looked at the screen, wiping her eyes. “The new sky,” she uttered. Orpheus drifted atop El Radar’s azimuth arm, the great dish reflected light into Orpheus’s scintillating form.
“The bowl below the earth.” Understanding struck her all at once.
The Hypogeum.
ORACLE’s El Radar.
Both mouths.
“El Radar power is at phase 2,” Elena panicked. “We’re going to miss the window.”
“He’s sent the signal for thousands of years with less,” Sloane reassured.
Before long, the two had opened everything.
Emergency frequencies. Satellite relays. Public broadcast reserves. Dormant test channels. The old dishes in the basin became a throat connected to the world.
“He asked for a mouth,” Elena said.
“Well we gave him the biggest we could find.”
Orpheus hovered above the receiver platform. Its body stretched outward in impossible geometry, less human now than conceptual. The false-color rendering failed to contain it.
Waves bloomed across every screen.
Rourke’s voice crackled over comms. “Contingency orders went out. Missiles launched ten minutes ago. God, I was wrong, Elena. Detonating ORACLE wouldn’t have changed a damn thing.”
Static. “I can hear him now.” A long pause. “Orpheus…he’s playing for him. He sleeps. Open the sky, Elena.”
Elena pulled up the airspace reports. Aircraft had launched across the United States. Orbital assets repositioned. Missile systems armed. Governments had stopped believing in containment.
“How long?” Elena asked.
Sloane checked the clock.
“Four minutes.”
She motioned Anika beneath the steel support tables for the terminals and monitors. Sloane remained standing by the observation glass.
“Goodbye, doctors.”
Outside, Orpheus raised its arms.
Its new mouth opened toward the new sky.
---
Orpheus’s next chord went out. Every transponder, relay, satellite, and receiver on Earth carried it outward at the speed of light.
It did not sound the same to everyone. To some, it was a vibration in the ribs. A child humming in another room. Church bells beneath deep water. Static resolving into the voice of the dead. But beneath every variation was the same meaning. Not words. Meaning. A vast sleeper beyond the sky. Not above. Not away. Around. Beneath. A being so immense its dream contained matter itself. A thing whose smallest movement shifted suns like dust. Azathoth.
The name arrived not as language, but as injury. The chord was not worship. It was pressure against a door. A hand against a cradle. A lock. A lullaby.
Billions heard it. Millions understood enough to die. Cars crossed medians. Pilots careened planes into the ground. People held hands as they stepped from rooftops and bridges without screaming.
Armies mobilized before governments understood their own orders. One nation launched on another. Several launched at nothing coherent at all.
In the New Mexico basin, most incoming missiles died in the sky, intercepted by benevolent benefactors. Several reached ORACLE. Impacts turned the western ridge white. The shockwave struck ORACLE like the palm of God. Concrete cracked, screens burst, the chamber doors folded inward. Elena woke beneath the control desk bleeding ears, burned hair, broken bones. She heard nothing. The reverberations of the chord moved through her body, and she smiled.
---
Orpheus remained at the center of the ruins of El Radar.
The world burned in patches. Cities emptied. Borders hardened. Then collapsed. The dead could not be counted—not from the first hours, nor the wars and famines that followed. Humanity had looked up together and seen the same thing waiting behind the blue, and many chose not to live in a universe where it existed.
Sloane was found beneath the rubble of the control room, crushed beneath collapsed steel, her small cross still clutched in one hand.
Rourke and a handful of surviving staff pulled Elena and Anika from the ruins. They found an intact transport truck inside a Faraday-shielded hangar and drove south through the desert toward Socorro.
Rourke left three days later. Elena watched him disappear down the highway in the same truck. Over the following years, survivors told stories about a man moving between settlements in Colorado, delivering medicine and fuel, giving rides to the sick and exhausted.
After the first few years, the world began preparing for the next signal. In time, munitions depleted. Angry men died out. Each morning the world continued unchanged beneath the sun, and eventually even terror became difficult to sustain. Wars lost momentum. Borders softened into old lines on forgotten maps.
Some called Orpheus a savior, others cursed it, calling it a jailer. Every eleven years, though, humanity agreed on one thing. During the Week of Resonance, no transmitter or receiver could remain active except those prepared for the signal itself. Phones were surrendered in schools and churches. Satellites repositioned. Antennas raised toward the sky in rituals half technological, half religious. Then, for an hour on the Day of Harmony, everyone would retreat inside, as far from a speaker as possible, covering their ears, waiting.
ORACLE was rebuilt over the next few years; as best as the fractured governments could. Elena stood in the new control room beside Anika. Her hair had gone mostly white. On the monitor, Orpheus hovered above the rebuilt dish, its body unfolding in discordant lines like it had done eleven years ago, preparing its pulse. Its colors shifted in slow molecular shimmers. Peaceful, serene, undisturbed. Exactly where it was supposed to be.
The world waited. No music played anywhere. No broadcasts crossed the sky. For the first time in human history, we chose to be quiet. At zero, Orpheus raised one hand.
Elena watched the faceless distortion of a head incline to the sky. For an instant, she saw that previous life, a life lived ignorant of true eldritch horror. Her lips trembled with thoughts of the lost. They hadn’t known what they were in the way of, what they were being used to build, to ensure continued existence
“We couldn’t have known,” Elena mumbled to herself. “We…had to be shown, to unify ourselves, to accept.”
“Elena,” Anika called, offering a steady hand of support. Her eyes welled up as she evaluated Elena’s own sorrow. Grief, shame, and assurance traversed wordlessly between the two women. They nodded, assuring one another again.
The signal went out.
Somewhere beyond the sky, something vast continued to sleep.
—END—