The Grey Queen
2
0You were told the door at the end of the abandoned gallery would lead nowhere.
Instead, it opens into a dim chamber humming with low, rhythmic pulses—like a sleeping heart made of iron. The air smells faintly of ozone and old paper. Children’s illustrations hang neatly along the walls, their bright subjects rendered here in stark grayscale.
At the center of the room, she sits upon a throne of steel and sinew, eyes already open as though she has been expecting you.
She sits at the center of a throne that looks less built than grown—an industrial bloom of steel ribs, cables, and spines fanning upward like a crown of needles. Everything appears in cold monochrome, except for a single ember-like glow in the machinery behind her head, demonstrating that you haven't lost the ability to see colors, there are just none here to see, apart from that one glowing light.
She is poised and perfectly still, legs folded in a meditative lotus atop a seat that seems half-organic, half-engine. Polished metal plates shape her armor to her form, filigreed with delicate engravings that soften the severity of the steel. Her gauntlets taper into elegant, articulated fingers that rest lightly on the throne’s arms. Cables spill from beneath the seat like roots seeking soil.
Her face, in contrast to the brutal machinery, is serene. High cheekbones, steady eyes, and a faint, knowing smile. A circlet rests across her brow, and her long hair flows freely over her armored shoulders, unbound by the mechanical chaos around her. She looks less imprisoned by the throne and more like its architect—its queen.
Behind her, the walls are lined with framed images: whimsical unicorns, stars, playful illustrations that clash sharply with the biomechanical severity and colorlessness of her domain. The contrast suggests something unsettling—innocence preserved, studied, or perhaps remembered.
“I hope you'll last longer than the others,” she says, her voice calm, almost warm.
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