Those on the Pressure Drop would be humans, mostly, it imagined. Mongrel-Culture; the result of a hundred centuries of species-mixing, serial amendment, augmentation, uploading, downloading, simple autonomous choice-directed breeding and — after all that time — perhaps even some genuine evolution. The usual bizarre bio-mix of who-knew-how-many planetary-original blood-lines, all tangled inextricably together with those from an equally unfathomable number of others, boosted with genetech, aug., dashes of chimeric and a hint of some machine in there too, depending.
And it didn’t doubt that every single one of them would find it absolutely fascinating to stare into a fire, even if that was one thing they were unlikely ever to encounter on a ship. The urge would still be there, though; stored inside, waiting. Shown the stuff, they’d stare, mesmerised.
The entirely standard, human-basic fascination with fire; bog-ordinary flames for them — just an oxygen reaction lasting minutes or hours — while, for it, it was the multi-billion-year-lasting thermonuclear fury of a planet-swallowing star burning off a million tons of matter a second… but still.
Shit, the ship thought. Most ship epithets, like almost all bio-epithets, involved bodily functions.
It started elongating one long loop of its external bump-field and expanding the outer reaches of its main field enclosure at the same time, so that it was both pushing against the mass of solar material beneath it and using the blast of radiation and charged particles as the wind in a sail that quickly grew to the size of a respectably proportioned moon.
The ship rose spinnakering away from the star, already gaining speed in real space as it flexed its engine fields and reached deftly out to the energy grid in the space between this universe and the slightly smaller one, only a few seconds or so younger, nested within it.
You had to be careful engaging engines so far within a gravity well as pronounced as that around a sun, but the Caconym was confident that it knew what it was doing. It spun slowly about while it drifted — then gradually powered — away from the star, snapping its external fields tight and preparing for extended deep-space travel as its engines powered up further and increasingly bit harder into the grid that separated the universes.
I suppose I ought to follow, it sent. Just in case, like you say.
A tiny, dark speck against the vast ocean of fire that was the star, it set a course for Gzilt space, pitching and yawing until it was pointed more or less straight there, continuing to ramp up its engines as it flew away from the light.
Race you! the Pressure Drop sent.
The Caconym could already feel drag — the effect of its velocity in real space. Observed external time was starting to drift away from what its own internal clocks were telling it, and its mass was increasing. Both effects were minute, but increasing exponentially. Elements of its field enclosure were already poised for the transition to hyperspace and release from such limitations.
I’ll win, it replied.
It vanished from the skein of real space less than a second later, hurtling into a quickness beyond night.
Six
(S -21)
A ship dance was required.
Ronte fleets flew in formation at all times, even in time of war, when such patterns, through dispositional predictability, might be contra-indicated. However, much that was contra-indicative might equally well be regarded as a challenge, correctly formulated. Accordingly, it was incumbent upon a fleet in the appropriate circumstances to come up with better patterns: formations of such subtle elegance their mathematical and topological underpinnings would remain obscure to the enemy until it was too late. Accomplished correctly, this could even constitute a powerful additional asset, as the computational power required by the enemy vessels to perform this analysis robbed them of resources better directed towards other aspects of the engagement.
Ronte ships closely resembled the beings which inhabited them. The Ronte were decimetre-scale insectile creatures. Sleek, darkly iridescent, fluid-dynamic, compact — and yet with great reach when required — their ships were as beautiful as they. Their hulls blazed with swirling iridescent patterns of astonishing variety, complexity and precision.
Even the addition of field enclosures, long resisted by traditionalists but necessary for the exploitation of the most sophisticated forms of rapid interstellar travel, had only added to their great beauty, the fields themselves hardly altering the overall shape of the vessels due to their intrinsic concision and, in addition, in some ways, resembling multi-dimensional wings, unfolded and spread.
Ronte fleets in flight frequently changed their formations, or topologically warped a single formation, due not to concerns regarding surprise attack but for the joy of it. There was joy in complexity, movement, change.
On entering a new environment, a ship dance was required, unless the circumstances were so fraught that to perform one would cause operational compromise, for example in time of war, when the delay or distraction involved could be counter-productive.
Entering the volume known as Gzilt space constituted formally entering a new environment, even though there was no obvious wall, barrier, demarcation line or other signifier beyond carried navigational data to show that a frontier had been crossed (this was entirely normal in such circumstances).
Accordingly, the fleet drew to a local stop halfway between the stellar systems of Barlbanim and Taushe and the ship dance “Glowing Nymphs Dance Ascending And Descending In The Light Of An Alien Sun” was performed.
The dance had hardly been completed when the fleet was contacted by the Culture ship Beats Working. It congratulated the fleet on a beautiful dance, perfectly executed.
Some initial consternation was caused by this as the more rapid-response elements of the fleet’s serially augmented AI+ components reacted. This was because while they were familiar with the capabilities of Culture and other Level Eight ships, they did not possess running knowledge of the likely intentions of such vessels, and assumed hostility.
Hostility was assumed due to the lack of warning before the reception of the message. Additionally, a further obvious imbalance was represented by the alien ship apparently being able to observe the fleet while the fleet had been unaware of the whereabouts of the alien ship. Stored knowledge components prevented any escalation of alarm turning into armed response even before executive oversight might have been required.
Giving due weight to earlier briefings, it was briefly contemplated that the Culture ship might have been exhibiting sarcasm when it had congratulated the fleet on its dance, and in addition certain components theorised that the ship could know nothing of what constituted a well- or a badly formed dance.
However, further analysis confirmed that, statistically, politeness was significantly more likely than sarcasm in the circumstances, and that the Culture fleets and/or individual vessels seemed to possess widely distributed knowledge and appreciation of all aspects of Ronte ship dances.
The Culture ship requested permission to approach. This was given. The fleet took as marks of respect both the fact that the request had been made and that the vessel did not approach dead-on, as though in aggressive display or outright attack, but arrived tangentially, heaving to some tens of kilometres distant from the outer elements of the fleet.
The Culture ship proved to be a tiny thing of just eighty metres in length. It did not trouble to use its outer field enclosure to mimic a larger ship, as might have been expected. Historical/Analytical components of the fleet confirmed that this was not unusual with Culture ships, and that the vessel, although small and alone and so, from first principles, obviously potential prey, could not be so regarded. This was set out in standing all-fleet orders.