Machines grew our orbiting city-states from raw rock and ice, and then bootstrapped inert matter towards life within their biomes. Thinking machines ran those city-states, shepherding the ten thousand habitats of the Glitter Band as they processed around Yellowstone. Machines made Chasm City what it was; shaping its amorphous architecture towards a fabulous and phantasmagoric beauty.

All that is gone.

It was worse than you are thinking. If the plague had only killed our machines, millions would still have died, but that would have been a manageable catastrophe, something from which we could have recovered. But the plague went beyond mere destruction, into a realm much closer to artistry, albeit an artistry of a uniquely perverted and sadistic kind. It caused our machines to evolve uncontrollably—out of our control, at least—seeking bizarre new symbioses. Our buildings turned into Gothic nightmares, trapping us before we could escape their lethal transfigurations. The machines in our cells, in our blood, in our heads, began to break their shackles—blurring into us, corrupting living matter. We became glistening, larval fusions of flesh and machine. When we buried the dead they kept growing, spreading together, fusing with the city’s architecture.

It was a time of horror.

It is not yet over.

And yet, like any truly efficient plague, our parasite was careful not to kill its host population entirely. Tens of millions died—but tens of millions more reached some kind of sanctuary, hiding within hermetically sealed enclaves in the city or orbit. Their medichines were given emergency destruct orders, converting themselves to dust which was flushed harmlessly out of the body. Surgeons worked furiously to tear implants from heads before traces of the plague reached them.