And so I became a musician.
The ballroom is a hemisphere in the center of the airship. It is filled to capacity. Innumerable quickbeings shimmer in the air like living candles, and the suits of the fleshed ones are no less exotic. A woman clad in nothing but autumnn leaves smiles at me. Tinkerbell clones surround the cat. Our bodyguards, armed obsidian giants, open a way for us to the stage where the gramophones wait. A rustle moves through the crowd. The air around us is pregnant with ghosts, the avatars of a million fleshless fans. I wag my tail. The scentspace is intoxicating: perfume, fleshbodies, the unsmells of moravec bodies. And the fallen god smell of the wrong master, hiding somewhere within.
We get on the stage on our hindlegs, supported by prosthesis shoes. The gramophone forest looms behind us, their horns like flowers of brass and gold. We cheat, of course: the music is analog and the gramophones are genuine, but the grooves in the black discs are barely a nanometer thick, and the needles are tipped with quantum dots.
We take our bows and the storm of handclaps begins.
“Thank you,” I say when the thunder of it finally dies. “We have kept quiet about the purpose of this concert as long as possible. But I am finally in a position to tell you that this is a charity show.”
I smell the tension in the air, copper and iron.
“We miss someone,” I say. “He was called Shimoda Takeshi, and now he’s gone.”
The cat lifts the conductor’s baton and turns to face the gramophones. I follow, and step into the soundspace we’ve built, the place where music is smells and sounds.
The master is in the music.
It took five human years to get to the top. I learned to love the audiences: I could smell their emotions and create a mix of music for them that was just right. And soon I was no longer a giant dog DJ among lilliputs, but a little terrier in a forest of dancing human legs. The cat’s gladiator career lasted a while, but soon it joined me as a performer in the virtual dramas I designed. We performed for rich fleshies in the Fast City, Tokyo and New York. I loved it. I howled at Earth in the sky in the Sea of Tranquility.
But I always knew that it was just the first phase of the Plan.
We turn him into music. VecTech owns his brain, his memories, his mind. But we own the music.
Law is code. A billion people listening to our master’s voice. Billion minds downloading the Law At Home packets embedded in it, bombarding the quantum judges until they give him back.
It’s the most beautiful thing I’ve ever made. The cat stalks the genetic algorithm jungle, lets the themes grow and then pounces them, devours them. I just chase them for the joy of the chase alone, not caring whether or not I catch them.
It’s our best show ever.
Only when it’s over, I realise that no one is listening. The audience is frozen. The fairies and the fastpeople float in the air like flies trapped in amber. The moravecs are silent statues. Time stands still.
The sound of one pair of hands, clapping.
“I’m proud of you, ” says the wrong master.
I fix my bow tie and smile a dog’s smile, a cold snake coiling in my belly. The godsmell comes and tells me that I should throw myself onto the floor, wag my tail, bare my throat to the divine being standing before me.
But I don’t.
“Hello, Nipper,” the wrong master says.
I clamp down the low growl rising in my throat and turn it into words.
“What did you do?”
“We suspended them. Back doors in the hardware. Digital rights management.”
His mahogany face is still smooth: he does not look a day older, wearing a dark suit with a VecTech tie pin. But his eyes are tired.
“Really, I’m impressed. You covered your tracks admirably. We thought you were furries. Until I realised — “
A distant thunder interrupts him.
“I promised him I’d look after you. That’s why you are still alive. You don’t have to do this. You don’t owe him anything. Look at yourselves: who would have thought you could come this far? Are you going to throw that all away because of some atavistic sense of animal loyalty?”
“Not that you have a choice, of course. The plan didn’t work.”
The cat lets out a steam pipe hiss.
“You misunderstand,” I say. “The concert was just a diversion.”
The cat moves like a black-and-yellow flame. Its claws flash, and the wrong master’s head comes off. I whimper at the aroma of blood polluting the godsmell. The cat licks its lips. There is a crimson stain on its white shirt.
The zeppelin shakes, pseudomatter armor sparkling. The dark sky around the Marquis is full of fire-breathing beetles. We rush past the human statues in the ballroom and into the laboratory.
The cat does the dirty work, granting me a brief escape into virtual abstraction. I don’t know how the master did it, years ago, broke VecTech’s copy protection watermarks. I can’t do the same, no matter how much the Small Animal taught me. So I have to cheat, recover the marked parts from somewhere else.
The wrong master’s brain.
The part of me that was born on the Small Animal’s island takes over and fits the two patterns together, like pieces of a puzzle. They fit, and for a brief moment, the master’s voice is in my mind, for real this time.
The cat is waiting, already in its clawed battlesuit, and I don my own. The Marquis of Carabas is dying around us. To send the master on his way, we have to disengage the armor.
The cat meows faintly and hands me something red. An old plastic ball with toothmarks, smelling of the sun and the sea, with few grains of sand rattling inside.
“Thanks,” I say. The cat says nothing, just opens a door into the zeppelin’s skin. I whisper a command, and the master is underway in a neutrino stream, shooting up towards an island in a blue sea. Where the gods and big dogs live forever.
We dive through the door together, down into the light and flame.