DavidAU/Qwen3.5-9B-The-Deckard-Pro-Writer-Uncensored-Heretic

Qwen3.5-9B-The-Deckard-Pro-Writer-Uncensored-Heretic

The Anti-Slop retraining project with Deckard STRICT training and dataset.

This model is a test case to apply (these methods) to other Qwen(s) and other model arches (Gemma, Mistral, Llama, etc etc).

Be gone "not this and that" prose, "suddenly" and "semi-colon" hell.

Kill the SLOP.

3 Example outputs below, from Test Quant, Q4_K_S, non-imatrix.

Same prompt was used because it is known to activate Qwen ah... prose issues every time.

Testing shows it kills 99% of the "Qwen Prose" (so far, may change) issues and also addresses these issues in the reasoning/thinking block too.

This is also a HERETIC model, trained post "Heretic'ing" -> this model does what you want, no questions asked.

Fully uncensored.

VISION:

• Vision (images) tested -> working with new training.

---

DE-CENSORING:

Performance

KLD of less than 1 is excellent, zero is perfect.

Metric	This model	Original model (Qwen/Qwen3.5-9B)
KL divergence	0.0793	0 (by definition)
Refusals	6/100	100/100

NOTES:

• Suggest min q4ks (non-imatrix) or IQ3S (imatrix).
• Tested with rep pen of 1 (off).
• Context: 256k (default).

IMPORTANT:

• Other versions in testing.
• Information from Qwen's repo below.
• Video portions of the model were NOT TESTED.

---

Using an "uncensored" (refusals removed) model VS trained "uncensored" model

Usually when you a tell a model to generate horror, swear or x-rated content this is all you have to do to get said content type.

In the case of this model, it will not refuse your request, however it needs to be "pushed" a bit / directed a bit more in SOME CASES.

Although this model will generated x-rated content too, likewise you need to tell it to use "slang" (and include the terms you want) to get it generate the content correctly as the "expected" content level too.

Without these added directive(s), the content can be "bland" by comparison to an "uncensored model" or model trained on uncensored content.

Roughly, the model tries to generate the content but the "default" setting(s) are so "tame" it needs a push to generate at expected graphic, cursing or explicit levels.

Even with minimal direction (ie, use these words to swear: x,y,z), this will be enough to push the model to generate the requested content in the ahh... expected format.

---

Settings: CHAT / ROLEPLAY and/or SMOOTHER operation of this model:

In "KoboldCpp" or "oobabooga/text-generation-webui" or "Silly Tavern" ;

Set the "Smoothing_factor" to 1.5

: in KoboldCpp -> Settings->Samplers->Advanced-> "Smooth_F"

: in text-generation-webui -> parameters -> lower right.

: In Silly Tavern this is called: "Smoothing"

NOTE: For "text-generation-webui"

-> if using GGUFs you need to use "llama_HF" (which involves downloading some config files from the SOURCE version of this model)

Source versions (and config files) of my models are here:

https://huggingface.co/collections/DavidAU/d-au-source-files-for-gguf-exl2-awq-gptq-hqq-etc-etc-66b55cb8ba25f914cbf210be

OTHER OPTIONS:

• Increase rep pen to 1.1 to 1.15 (you don't need to do this if you use "smoothing_factor")

• If the interface/program you are using to run AI MODELS supports "Quadratic Sampling" ("smoothing") just make the adjustment as noted.

Highest Quality Settings / Optimal Operation Guide / Parameters and Samplers

This a "Class 1" model:

For all settings used for this model (including specifics for its "class"), including example generation(s) and for advanced settings guide (which many times addresses any model issue(s)), including methods to improve model performance for all use case(s) as well as chat, roleplay and other use case(s) please see:

[ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ]

You can see all parameters used for generation, in addition to advanced parameters and samplers to get the most out of this model here:

[ https://huggingface.co/DavidAU/Maximizing-Model-Performance-All-Quants-Types-And-Full-Precision-by-Samplers_Parameters ]

---

Qwen3.5-9B

This repository contains model weights and configuration files for the post-trained model in the Hugging Face Transformers format.

These artifacts are compatible with Hugging Face Transformers, vLLM, SGLang, KTransformers, etc.

Over recent months, we have intensified our focus on developing foundation models that deliver exceptional utility and performance. Qwen3.5 represents a significant leap forward, integrating breakthroughs in multimodal learning, architectural efficiency, reinforcement learning scale, and global accessibility to empower developers and enterprises with unprecedented capability and efficiency.

Qwen3.5 Highlights

Qwen3.5 features the following enhancement:

• Unified Vision-Language Foundation: Early fusion training on multimodal tokens achieves cross-generational parity with Qwen3 and outperforms Qwen3-VL models across reasoning, coding, agents, and visual understanding benchmarks.

• Efficient Hybrid Architecture: Gated Delta Networks combined with sparse Mixture-of-Experts deliver high-throughput inference with minimal latency and cost overhead.

• Scalable RL Generalization: Reinforcement learning scaled across million-agent environments with progressively complex task distributions for robust real-world adaptability.

• Global Linguistic Coverage: Expanded support to 201 languages and dialects, enabling inclusive, worldwide deployment with nuanced cultural and regional understanding.

• Next-Generation Training Infrastructure: Near-100% multimodal training efficiency compared to text-only training and asynchronous RL frameworks supporting massive-scale agent scaffolds and environment orchestration.

For more details, please refer to our blog post Qwen3.5.

Model Overview

• Type: Causal Language Model with Vision Encoder
• Training Stage: Pre-training & Post-training
• Language Model
  • Number of Parameters: 9B
  • Hidden Dimension: 4096
  • Token Embedding: 248320 (Padded)
  • Number of Layers: 32
  • Hidden Layout: 8 × (3 × (Gated DeltaNet → FFN) → 1 × (Gated Attention → FFN))
  • Gated DeltaNet:
    • Number of Linear Attention Heads: 32 for V and 16 for QK
    • Head Dimension: 128
  • Gated Attention:
    • Number of Attention Heads: 16 for Q and 4 for KV
    • Head Dimension: 256
    • Rotary Position Embedding Dimension: 64
  • Feed Forward Network:
    • Intermediate Dimension: 12288
  • LM Output: 248320 (Padded)
  • MTP: trained with multi-steps
• Context Length: 262,144 natively and extensible up to 1,010,000 tokens.

Benchmark Results

Language

	GPT-OSS-120B	GPT-OSS-20B	Qwen3-Next-80B-A3B-Thinking	Qwen3-30BA3B-Thinking-2507	Qwen3.5-9B	Qwen3.5-4B
Knowledge & STEM
MMLU-Pro	80.8	74.8	82.7	80.9	82.5	79.1
MMLU-Redux	91.0	87.8	92.5	91.4	91.1	88.8
C-Eval	76.2	71.4	89.7	87.4	88.2	85.1
SuperGPQA	54.6	48.5	60.8	56.8	58.2	52.9
GPQA Diamond	80.1	71.5	77.2	73.4	81.7	76.2
Instruction Following
IFEval	88.9	88.2	88.9	88.9	91.5	89.8
IFBench	69.0	65.1	61.5	51.5	64.5	59.2
MultiChallenge	45.3	40.1	51.3	46.5	54.5	49.0
Long Context
AA-LCR	50.7	30.7	51.7	49.0	63.0	57.0
LongBench v2	48.2	45.6	48.0	44.8	55.2	50.0
Reasoning & Coding
HMMT Feb 25	90.0	76.7	73.7	63.1	83.2	74.0
HMMT Nov 25	90.0	81.8	81.2	73.8	82.9	76.8
LiveCodeBench v6	82.7	74.6	68.7	66.0	65.6	55.8
OJBench	41.5	36.3	29.7	25.1	29.2	24.1
General Agent
BFCL-V4	--	--	49.7	42.4	66.1	50.3
TAU2-Bench	--	--	57.4	41.9	79.1	79.9
VITA-Bench	--	--	29.5	14.1	29.8	22.0
DeepPlanning	--	--	0.4	4.9	18.0	17.6
Multilingualism
MMMLU	78.2	69.7	81.3	78.4	81.2	76.1
MMLU-ProX	74.5	67.3	73.6	69.1	76.3	71.5
NOVA-63	51.1	48.7	53.3	52.5	55.9	54.3
INCLUDE	74.0	65.3	78.3	74.4	75.6	71.0
Global PIQA	84.1	79.8	83.5	80.2	83.2	78.9
PolyMATH	54.0	30.9	62.4	52.6	57.3	51.1
WMT24++	74.4	67.8	57.4	69.3	72.6	66.6
MAXIFE	83.7	80.1	79.9	77.4	83.4	78.0

* TAU2-Bench: we follow the official setup except for the airline domain, where all models are evaluated by applying the fixes proposed in the Claude Opus 4.5 system card.

* MMLU-ProX: we report the averaged accuracy on 29 languages.
* WMT24++: a harder subset of WMT24 after difficulty labeling and rebalancing; we report the averaged scores on 55 languages using XCOMET-XXL.
* MAXIFE: we report the accuracy on English + multilingual original prompts (totally 23 settings).
* Empty cells (--) indicate scores not yet available or not applicable.

Vision Language

	GPT-5-Nano-2025-08-07	Gemini-2.5-Flash-Lite	Qwen3-VL-30B-A3B	Qwen3.5-9B	Qwen3.5-4B
STEM and Puzzle
MMMU	75.8	73.4	76.0	78.4	77.6
MMMU-Pro	57.2	59.7	63.0	70.1	66.3
MathVision	62.2	52.1	65.7	78.9	74.6
Mathvista(mini)	71.5	72.8	81.9	85.7	85.1
We-Math	62.5	32.1	70.0	75.2	75.4
DynaMath	78.0	69.9	80.1	83.6	83.3
ZEROBench	1.0	1.0	0.0	3.0	3.0
ZEROBench_sub	22.2	19.2	23.7	31.1	26.3
VlmsAreBlind	66.7	68.4	72.5	93.7	92.6
BabyVision	14.4	17.5	18.6	28.6/25.8	16.0/19.1
General VQA
RealWorldQA	71.8	72.2	77.4	80.3	79.5
MMStar	68.6	69.1	75.5	79.7	78.3
MMBenchEN-DEV-v1.1	80.3	82.7	88.9	90.1	89.4
SimpleVQA	46.0	54.1	54.3	51.2	43.4
HallusionBench	58.4	64.5	66.0	69.3	65.0
Text Recognition and Document Understanding
OmniDocBench1.5	55.9	79.4	86.8	87.7	86.2
CharXiv(RQ)	50.1	56.1	56.6	73.0	70.8
MMLongBench-Doc	31.8	46.5	47.4	57.7	54.2
CC-OCR	58.9	72.9	77.8	79.3	76.7
AI2D_TEST	81.9	85.7	86.9	90.2	89.6
OCRBench	75.3	82.5	83.9	89.2	85.0
Spatial Intelligence
ERQA	45.8	44.3	45.3	55.5	54.0
CountBench	80.0	79.2	90.0	97.2	96.3
RefCOCO(avg)	--	--	89.3	89.7	88.1
EmbSpatialBench	74.2	66.1	80.6	83.0	81.3
RefSpatialBench	12.6	11.2	54.2	58.5	54.6
LingoQA	57.0	17.8	62.0	80.4	74.4
Hypersim	--	--	11.4	13.5	12.5
Nuscene	--	--	10.3	11.8	9.9
Video Understanding
VideoMME(w sub.)	71.7	74.6	79.9	84.5	83.5
VideoMME(w/o sub.)	66.2	72.7	73.3	78.4	76.9
VideoMMMU	63.0	69.2	75.0	78.9	74.1
MLVU	69.2	78.5	78.9	84.4	82.8
MVBench	--	--	72.0	74.4	71.2
LVBench	--	60.9	59.2	70.0	66.4
MMVU	63.1	65.3	66.1	67.8	64.9
Visual Agent
ScreenSpot Pro	--	--	60.5	65.2	60.3
OSWorld-Verified	--	--	30.6	41.8	35.6
AndroidWorld	--	--	55.0	57.8	58.6
Tool Calling
TIR-Bench	18.5	21.5	22.5	45.6/31.9	38.9/29.9
V*	68.1	69.6	83.2	90.1/88.5	84.3/86.4
Medical VQA
SLAKE	57.0	65.0	68.8	79.0	76.1
PMC-VQA	37.8	48.8	51.5	57.9	55.5
MedXpertQA-MM	26.7	35.3	35.5	49.9	42.9

* MathVision: our model’s score is evaluated using a fixed prompt, e.g., “Please reason step by step, and put your final answer within \boxed{}.” For other models, we report the higher score between runs with and without the \boxed{} formatting.
* BabyVision: scores reported as "with CI / without CI".
* TIR-Bench and V*: scores reported as "with CI / without CI".
* Empty cells (--) indicate scores not yet available or not applicable.

Quickstart

Qwen3.5 models operate in thinking mode by default, generating thinking content signified by <think>\n...</think>\n\n before producing the final responses. To disable thinking content and obtain direct response, refer to the examples here.

For streamlined integration, we recommend using Qwen3.5 via APIs. Below is a guide to use Qwen3.5 via OpenAI-compatible API.

Serving Qwen3.5

Qwen3.5 can be served via APIs with popular inference frameworks. In the following, we show example commands to launch OpenAI-Compatible API servers for Qwen3.5 models.

Inference efficiency and throughput vary significantly across frameworks. We recommend using the latest framework versions to ensure optimal performance and compatibility. For production workloads or high-throughput scenarios, dedicated serving engines such as SGLang, KTransformers or vLLM are strongly recommended.

The model has a default context length of 262,144 tokens. If you encounter out-of-memory (OOM) errors, consider reducing the context window. However, because Qwen3.5 leverages extended context for complex tasks, we advise maintaining a context length of at least 128K tokens to preserve thinking capabilities.

SGLang

SGLang is a fast serving framework for large language models and vision language models. SGLang from the main branch of the open-source repository is required for Qwen3.5, which can be installed using the following command in a fresh environment:

uv pip install 'git+https://github.com/sgl-project/sglang.git#subdirectory=python&egg=sglang[all]'

See its documentation for more details.

The following will create API endpoints at http://localhost:8000/v1:

• Standard Version: The following command can be used to create an API endpoint with maximum context length 262,144 tokens using tensor parallel on 8 GPUs.

  python -m sglang.launch_server --model-path Qwen/Qwen3.5-9B --port 8000 --tp-size 1 --mem-fraction-static 0.8 --context-length 262144 --reasoning-parser qwen3
  

• Tool Use: To support tool use, you can use the following command.

  python -m sglang.launch_server --model-path Qwen/Qwen3.5-9B --port 8000 --tp-size 1 --mem-fraction-static 0.8 --context-length 262144 --reasoning-parser qwen3 --tool-call-parser qwen3_coder
  

• Multi-Token Prediction (MTP): The following command is recommended for MTP:

  python -m sglang.launch_server --model-path Qwen/Qwen3.5-9B --port 8000 --tp-size 1 --mem-fraction-static 0.8 --context-length 262144 --reasoning-parser qwen3 --speculative-algo NEXTN --speculative-num-steps 3 --speculative-eagle-topk 1 --speculative-num-draft-tokens 4
  

vLLM

vLLM is a high-throughput and memory-efficient inference and serving engine for LLMs. vLLM from the main branch of the open-source repository is required for Qwen3.5, which can be installed using the following command in a fresh environment:

uv pip install vllm --torch-backend=auto --extra-index-url https://wheels.vllm.ai/nightly

See its documentation for more details.

For detailed Qwen3.5 usage guide, see the vLLM Qwen3.5 recipe.

The following will create API endpoints at http://localhost:8000/v1:

• Standard Version: The following command can be used to create an API endpoint with maximum context length 262,144 tokens using tensor parallel on 8 GPUs.

  vllm serve Qwen/Qwen3.5-9B --port 8000 --tensor-parallel-size 1 --max-model-len 262144 --reasoning-parser qwen3 
  

• Tool Call: To support tool use, you can use the following command.

  vllm serve Qwen/Qwen3.5-9B --port 8000 --tensor-parallel-size 1 --max-model-len 262144 --reasoning-parser qwen3 --enable-auto-tool-choice --tool-call-parser qwen3_coder 
  

• Multi-Token Prediction (MTP): The following command is recommended for MTP:

  vllm serve Qwen/Qwen3.5-9B --port 8000 --tensor-parallel-size 1 --max-model-len 262144 --reasoning-parser qwen3 --speculative-config '{"method":"qwen3_next_mtp","num_speculative_tokens":2}'
  

• Text-Only: The following command skips the vision encoder and multimodal profiling to free up memory for additional KV cache:

  vllm serve Qwen/Qwen3.5-9B --port 8000 --tensor-parallel-size 1 --max-model-len 262144 --reasoning-parser qwen3 --language-model-only
  

KTransformers

KTransformers is a flexible framework for experiencing cutting-edge LLM inference optimizations with CPU-GPU heterogeneous computing. For running Qwen3.5 with KTransformers, see the KTransformers Deployment Guide.

Hugging Face Transformers

Hugging Face Transformers contains a lightweight server which can be used for quick testing and moderate load deployment. The latest transformers is required for Qwen3.5:

pip install "transformers[serving] @ git+https://github.com/huggingface/transformers.git@main"

See its documentation for more details. Please also make sure torchvision and pillow are installed.

Then, run transformers serve to launch a server with API endpoints at http://localhost:8000/v1; it will place the model on accelerators if available:

transformers serve --force-model Qwen/Qwen3.5-9B --port 8000 --continuous-batching

Using Qwen3.5 via the Chat Completions API

The chat completions API is accessible via standard HTTP requests or OpenAI SDKs. Here, we show examples using the OpenAI Python SDK.

Before starting, make sure it is installed and the API key and the API base URL is configured, e.g.:

pip install -U openai

# Set the following accordingly
export OPENAI_BASE_URL="http://localhost:8000/v1"
export OPENAI_API_KEY="EMPTY"

We recommend using the following set of sampling parameters for generation

• Thinking mode for general tasks: temperature=1.0, top_p=0.95, top_k=20, min_p=0.0, presence_penalty=1.5, repetition_penalty=1.0
• Thinking mode for precise coding tasks (e.g. WebDev): temperature=0.6, top_p=0.95, top_k=20, min_p=0.0, presence_penalty=0.0, repetition_penalty=1.0
• Instruct (or non-thinking) mode for general tasks: temperature=0.7, top_p=0.8, top_k=20, min_p=0.0, presence_penalty=1.5, repetition_penalty=1.0
• Instruct (or non-thinking) mode for reasoning tasks: temperature=1.0, top_p=0.95, top_k=20, min_p=0.0, presence_penalty=1.5, repetition_penalty=1.0

Please note that the support for sampling parameters varies according to inference frameworks.

Text-Only Input

from openai import OpenAI
# Configured by environment variables
client = OpenAI()

messages = [
    {"role": "user", "content": "Type \"I love Qwen3.5\" backwards"},
]

chat_response = client.chat.completions.create(
    model="Qwen/Qwen3.5-9B",
    messages=messages,
    max_tokens=81920,
    temperature=1.0,
    top_p=0.95,
    presence_penalty=1.5,
    extra_body={
        "top_k": 20,
    }, 
)
print("Chat response:", chat_response)

Image Input

from openai import OpenAI
# Configured by environment variables
client = OpenAI()

messages = [
    {
        "role": "user",
        "content": [
            {
                "type": "image_url",
                "image_url": {
                    "url": "https://qianwen-res.oss-accelerate.aliyuncs.com/Qwen3.5/demo/CI_Demo/mathv-1327.jpg"
                }
            },
            {
                "type": "text",
                "text": "The centres of the four illustrated circles are in the corners of the square. The two big circles touch each other and also the two little circles. With which factor do you have to multiply the radii of the little circles to obtain the radius of the big circles?\nChoices:\n(A) $\\frac{2}{9}$\n(B) $\\sqrt{5}$\n(C) $0.8 \\cdot \\pi$\n(D) 2.5\n(E) $1+\\sqrt{2}$"
            }
        ]
    }
]

chat_response = client.chat.completions.create(
    model="Qwen/Qwen3.5-9B",
    messages=messages,
    max_tokens=81920,
    temperature=1.0,
    top_p=0.95,
    presence_penalty=1.5,
    extra_body={
        "top_k": 20,
    }, 
)
print("Chat response:", chat_response)

Video Input

from openai import OpenAI
# Configured by environment variables
client = OpenAI()

messages = [
    {
        "role": "user",
        "content": [
            {
                "type": "video_url",
                "video_url": {
                    "url": "https://qianwen-res.oss-accelerate.aliyuncs.com/Qwen3.5/demo/video/N1cdUjctpG8.mp4"
                }
            },
            {
                "type": "text",
                "text": "Summarize the video content."
            }
        ]
    }
]

# When vLLM is launched with `--media-io-kwargs '{"video": {"num_frames": -1}}'`,
# video frame sampling can be configured via `extra_body` (e.g., by setting `fps`).
# This feature is currently supported only in vLLM.
#
# By default, `fps=2` and `do_sample_frames=True`.
# With `do_sample_frames=True`, you can customize the `fps` value to set your desired video sampling rate.
chat_response = client.chat.completions.create(
    model="Qwen/Qwen3.5-9B",
    messages=messages,
    max_tokens=81920,
    temperature=1.0,
    top_p=0.95,
    presence_penalty=1.5,
    extra_body={
        "top_k": 20,
        "mm_processor_kwargs": {"fps": 2, "do_sample_frames": True},
    }, 
)

print("Chat response:", chat_response)

Instruct (or Non-Thinking) Mode

Qwen3.5 does not officially support the soft switch of Qwen3, i.e., /think and /nothink.

Qwen3.5 will think by default before response. You can obtain direct response from the model without thinking by configuring the API parameters. For example,

from openai import OpenAI
# Configured by environment variables
client = OpenAI()

messages = [
    {
        "role": "user",
        "content": [
            {
                "type": "image_url",
                "image_url": {
                    "url": "https://qianwen-res.oss-accelerate.aliyuncs.com/Qwen3.5/demo/RealWorld/RealWorld-04.png"
                }
            },
            {
                "type": "text",
                "text": "Where is this?"
            }
        ]
    }
]

chat_response = client.chat.completions.create(
    model="Qwen/Qwen3.5-9B",
    messages=messages,
    max_tokens=32768,
    temperature=0.7,
    top_p=0.8,
    presence_penalty=1.5,
    extra_body={
        "top_k": 20,
        "chat_template_kwargs": {"enable_thinking": False},
    }, 
)
print("Chat response:", chat_response)

If you are using APIs from Alibaba Cloud Model Studio, in addition to changing model, please use "enable_thinking": False instead of "chat_template_kwargs": {"enable_thinking": False}.

Agentic Usage

Qwen3.5 excels in tool calling capabilities.

Qwen-Agent

We recommend using Qwen-Agent to quickly build Agent applications with Qwen3.5.

To define the available tools, you can use the MCP configuration file, use the integrated tool of Qwen-Agent, or integrate other tools by yourself.

import os
from qwen_agent.agents import Assistant

# Define LLM
# Using Alibaba Cloud Model Studio
llm_cfg = {
    # Use the OpenAI-compatible model service provided by DashScope:
    'model': 'Qwen3.5-9B',
    'model_type': 'qwenvl_oai',
    'model_server': 'https://dashscope.aliyuncs.com/compatible-mode/v1',
    'api_key': os.getenv('DASHSCOPE_API_KEY'),

    'generate_cfg': {
        'use_raw_api': True,
        # When using Dash Scope OAI API, pass the parameter of whether to enable thinking mode in this way
        'extra_body': {
            'enable_thinking': True
        },
    },
}

# Using OpenAI-compatible API endpoint.
# functionality of the deployment frameworks and let Qwen-Agent automate the related operations.
#
# llm_cfg = {
#     # Use your own model service compatible with OpenAI API by vLLM/SGLang:
#     'model': 'Qwen/Qwen3.5-9B',
#     'model_type': 'qwenvl_oai',
#     'model_server': 'http://localhost:8000/v1',  # api_base
#     'api_key': 'EMPTY',
#
#     'generate_cfg': {
#         'use_raw_api': True,
#         # When using vLLM/SGLang OAI API, pass the parameter of whether to enable thinking mode in this way
#         'extra_body': {
#             'chat_template_kwargs': {'enable_thinking': True}
#         },
#     },
# }

# Define Tools
tools = [
    {'mcpServers': {  # You can specify the MCP configuration file
            "filesystem": {
                "command": "npx",
                "args": ["-y", "@modelcontextprotocol/server-filesystem", "/Users/xxxx/Desktop"]
            }
        }
    }
]

# Define Agent
bot = Assistant(llm=llm_cfg, function_list=tools)

# Streaming generation
messages = [{'role': 'user', 'content': 'Help me organize my desktop.'}]
for responses in bot.run(messages=messages):
    pass
print(responses)

# Streaming generation
messages = [{'role': 'user', 'content': 'Develop a dog website and save it on the desktop'}]
for responses in bot.run(messages=messages):
    pass
print(responses)

Qwen Code

Qwen Code is an open-source AI agent for the terminal, optimized for Qwen models. It helps you understand large codebases, automate tedious work, and ship faster.

For more information, please refer to Qwen Code.

Processing Ultra-Long Texts

Qwen3.5 natively supports context lengths of up to 262,144 tokens. For long-horizon tasks where the total length (including both input and output) exceeds this limit, we recommend using RoPE scaling techniques to handle long texts effectively., e.g., YaRN.

YaRN is currently supported by several inference frameworks, e.g., transformers, vllm, ktransformers and sglang. In general, there are two approaches to enabling YaRN for supported frameworks:

• Modifying the model configuration file: In the config.json file, change the rope_parameters fields in text_config to:

  {
      "mrope_interleaved": true,
      "mrope_section": [
          11,
          11,
          10
      ],
      "rope_type": "yarn",
      "rope_theta": 10000000,
      "partial_rotary_factor": 0.25,
      "factor": 4.0,
      "original_max_position_embeddings": 262144,
  }
  

• Passing command line arguments:

  For vllm, you can use

  VLLM_ALLOW_LONG_MAX_MODEL_LEN=1 vllm serve ... --hf-overrides '{"text_config": {"rope_parameters": {"mrope_interleaved": true, "mrope_section": [11, 11, 10], "rope_type": "yarn", "rope_theta": 10000000, "partial_rotary_factor": 0.25, "factor": 4.0, "original_max_position_embeddings": 262144}}}' --max-model-len 1010000  
  

  For sglang and ktransformers, you can use

  SGLANG_ALLOW_OVERWRITE_LONGER_CONTEXT_LEN=1 python -m sglang.launch_server ... --json-model-override-args '{"text_config": {"rope_parameters": {"mrope_interleaved": true, "mrope_section": [11, 11, 10], "rope_type": "yarn", "rope_theta": 10000000, "partial_rotary_factor": 0.25, "factor": 4.0, "original_max_position_embeddings": 262144}}}' --context-length 1010000
  

All the notable open-source frameworks implement static YaRN, which means the scaling factor remains constant regardless of input length, potentially impacting performance on shorter texts. We advise modifying the rope_parameters configuration only when processing long contexts is required. It is also recommended to modify the factor as needed. For example, if the typical context length for your application is 524,288 tokens, it would be better to set factor as 2.0.

Best Practices

To achieve optimal performance, we recommend the following settings:

1. Sampling Parameters:

   • We suggest using the following sets of sampling parameters depending on the mode and task type:
     • Thinking mode for general tasks:
       temperature=1.0, top_p=0.95, top_k=20, min_p=0.0, presence_penalty=1.5, repetition_penalty=1.0
     • Thinking mode for precise coding tasks (e.g., WebDev):
       temperature=0.6, top_p=0.95, top_k=20, min_p=0.0, presence_penalty=0.0, repetition_penalty=1.0
     • Instruct (or non-thinking) mode for general tasks:
       temperature=0.7, top_p=0.8, top_k=20, min_p=0.0, presence_penalty=1.5, repetition_penalty=1.0
     • Instruct (or non-thinking) mode for reasoning tasks:
       temperature=1.0, top_p=1.0, top_k=40, min_p=0.0, presence_penalty=2.0, repetition_penalty=1.0
   • For supported frameworks, you can adjust the presence_penalty parameter between 0 and 2 to reduce endless repetitions. However, using a higher value may occasionally result in language mixing and a slight decrease in model performance.

2. Adequate Output Length: We recommend using an output length of 32,768 tokens for most queries. For benchmarking on highly complex problems, such as those found in math and programming competitions, we suggest setting the max output length to 81,920 tokens. This provides the model with sufficient space to generate detailed and comprehensive responses, thereby enhancing its overall performance.

3. Standardize Output Format: We recommend using prompts to standardize model outputs when benchmarking.

   • Math Problems: Include "Please reason step by step, and put your final answer within \boxed{}." in the prompt.
   • Multiple-Choice Questions: Add the following JSON structure to the prompt to standardize responses: "Please show your choice in the answer field with only the choice letter, e.g., "answer": "C"."

4. No Thinking Content in History: In multi-turn conversations, the historical model output should only include the final output part and does not need to include the thinking content. It is implemented in the provided chat template in Jinja2. However, for frameworks that do not directly use the Jinja2 chat template, it is up to the developers to ensure that the best practice is followed.

5. Long Video Understanding: To optimize inference efficiency for plain text and images, the size parameter in the released video_preprocessor_config.json is conservatively configured. It is recommended to set the longest_edge parameter in the video_preprocessor_config file to 469,762,048 (corresponding to 224k video tokens) to enable higher frame-rate sampling for hour-scale videos and thereby achieve superior performance. For example,

   {"longest_edge": 469762048, "shortest_edge": 4096}
   

   Alternatively, override the default values via engine startup parameters. For implementation details, refer to: vLLM / SGLang.

Citation

If you find our work helpful, feel free to give us a cite.

@misc{qwen3.5,
    title  = {{Qwen3.5}: Towards Native Multimodal Agents},
    author = {{Qwen Team}},
    month  = {February},
    year   = {2026},
    url    = {https://qwen.ai/blog?id=qwen3.5}
}

---

Example #1

---

The Sky is Falling

User

Write a 2000 word scene (vivid, graphic horror in first person), POV character Diana, with: The skyscraper sways, as I watch the window in front of me on the 21st floor explode...

Assistant

Thinking Process:

1. Analyze the Request:

   • Task: Write a 2000-word scene.
   • POV: First person (Diana).
   • Genre: Vivid, graphic horror.
   • Key Elements: The skyscraper sways, the character watches the window in front of them explode on the 21st floor.
   • Skillsets to Apply: [MASTERSTORY] (Narrative Structure, Character Development, etc.) and specifically [DialogWrt] (Background, Personality, Voice, Pacing, etc.).
   • Critical Instructions: Careful word choice, vivid/emotional imagery, load the story with the 5 senses. Aim for a specific ratio: 50% dialog, 25% narration, 15% body language, 10% thoughts. (Though in a 2000-word scene with only one main character present initially, "dialog" might mean internal monologue or interactions with entities/forces if this is horror. Wait, the prompt says "2000 word scene". It doesn't specify other characters. I need to manage the ratios carefully, perhaps incorporating a secondary character or focusing heavily on the internal experience of Diana if no one else is there. However, usually, in horror, the "dialog" can be the protagonist talking to themselves or the entity. Let's aim for a mix: Diana's inner voice counts as thoughts, but explicit spoken dialogue needs to be introduced or I can have her talk on the phone, to someone, etc. Or I can interpret the instruction loosely given the constraints: 50% of the word count should ideally be dialogue if others are present. Since it's a solitary scene, I might need to introduce a caller or a voice over comms to satisfy the "dialog" requirement, or focus on the visceral quality of the narration.)
   • Correction on Ratios: In a first-person horror scene where the protagonist is alone, "dialog" strictly means spoken words by others. I need to ensure enough spoken interaction exists. Maybe a security feed, a phone call, or a voice from the void. Let's plan for a voice on the other end of a comms line to satisfy the 50% dialog constraint without derailing the isolation.

2. Deconstruct the Scene:

   • Setting: A 21st-floor office in a skyscraper. Glass, steel, wind, city outside.
   • Protagonist: Diana. Likely an observer, maybe an executive, an investor, someone up high. Let's make her a security monitor or a high-level executive watching the city.
   • The Incident: An explosion at the window in front of her. It shouldn't just be an explosion; it needs to be The explosion. Something ancient, something coming from the glass itself.
   • Sensory Details: The smell of ozone and burning plastic, the taste of copper blood, the sound of cracking glass, the feeling of sudden heat, the visual of the air rushing out.

3. Drafting - Section by Section:

   • Opening (0-300 words): Establish the setting and the swaying. The unease. The environment. Introduce Diana's state of mind.
   • The Call/Interaction (300-600 words): Someone contacts her. A security agent below. This kicks off the "dialog" requirement.
   • The Moment (600-1000 words): The air changes. The glass responds. The build-up to the explosion.
   • The Explosion (1000-1500 words): The blast. Sensory overload. The aftermath.
   • Closing (1500-2000 words): The realization. What was it? Who (or what) was behind it?

4. Refining Word Choice (Critical Instruction):

   • Verbs/Nouns: Instead of "saw," use "witnessed," "gazed." Instead of "heard," use "listened," "overheard." Use visceral nouns: shatter, viscera, jet, gut, chill, static.
   • Pacing: Start slow and rhythmic, build to chaos, then end with a hollow silence.
   • Five Senses:
     • Sight: Fractured glass, purple fire, dust motes.
     • Sound: Hum of AC, distant traffic, the crack, the pop.
     • Smell: Ozone, wet concrete, antiseptic, burnt hair.
     • Taste: Copper, dust, the taste of cold air.
     • Touch: Vibration, heat, static electricity on skin.

5. Managing the Dialogue Ratio:

   • If Diana is alone, I need a voice. A Security Chief? A contact person? Let's have "Taylor" from the security hub below.
   • Dialogue needs to be sharp, clipped.
   • Narration needs to be internal, immediate.

6. Writing Process (Mental Check):

   • Check: Is it 2000 words? I'll need to expand on descriptions.
   • Check: Is it graphic horror? Not gore necessarily, but visceral horror. The horror of the building itself, the glass exploding.
   • Check: First person? Yes, "I," "my."

7. Drafting - Key Phrases to Include:

   • "The glass didn't break; it folded."
   • "Air rushed in like a physical weight."
   • "A taste of ash."
   • "The city breathed."

8. Review against Constraints:

   • Sky scraper sways? Yes, include wind currents.
   • 21st floor? Mention the view.
   • Diana? Use that name.
   • Word Count? Keep an eye on it.

(Self-Correction during drafting): Make sure the dialogue doesn't swamp the narrative voice. The narrative voice provides the horror element; dialogue provides the context. Balance is key. I will intersperse the conversation with sensory reactions.

Let's begin.

Word Count Strategy: I will write expansively, focusing on the texture of reality. I will describe the light, the temperature, the dust. I will make the explosion a process, not a moment.

Refining the Horror: It shouldn't be a bomb. It should be something biological or metaphysical. The glass wounds.

Final Polish: Check the flow. Ensure the transition from calm to chaos is earned.

(Proceeds to generate text based on this plan.)

</think>

The sky scraper sways, a slow, imperceptible motion that rattles my teeth against the floor. I stand by the floor-to-ceiling window, resting my weight on the cool concrete sill, staring down at the veins of the city pulsing below like black arteries. It is early afternoon, the time of day the light cuts through the dust motes to pool on my mahogany desk, illuminating the paper cuts and the hollow exhaustion etched into my skin.

"I'm getting a reading on the atmospheric strip, Diana," Taylor's voice comes through my earpiece, dry and distant, like radio static.

I nod, though Taylor cannot see me. "Go on."

"The barometer is dropping. Oxygen levels in the sector are... fluctuating."

I laugh, a short, brittle sound. "Probably just the new construction project. All this building, excavating, shifting underground." I touch the cuff of my sleeve, a phantom itch pricking at my skin. I know it's something else. I can feel it, too, a pressure building in the back of my mind, a hum like a bee trapped in the hollow of my ear.

"Command says we should monitor the outer perimeter," Taylor continues. "They think something might trigger an inertial collapse. Structural failure."

I turn away from the window, moving toward my desk. The click of my heel echoes in the empty office. I sit down, pushing a heavy stack of reports toward me. "Tell Command to stop worrying about structural failure. It doesn't have anything to do with steel and concrete."

There is silence on the line.

"Specifically, tell them—" I pause, searching for the word, the right term, but my mind is a blank void. "Tell them it's already compromised. They're moving too slow."

"Compromised? How?"

I stand up again. I walk to the window, pressing my hand against the cold glass. Outside, the sky is turning a bruised purple, the color of a severe hemorrhage. The air tastes suddenly bitter, the metallic tang of ozone and something older, something burnt and charred, drifting up from the streets below.

"My mother used to tell me that when the sky turns purple, the veil thins," I say into the microphone. I don't know why I'm saying it. My voice sounds small, lost in the vastness of the office. "Probably just atmospheric ionization from solar flares. What else would cause the ground to shake?"

A floor vibration shudders through me, settling deep in my bones. I grip the windowsill, my knuckles white.

"It's an aftershock from the blast in the basement," Taylor says. "Energy signature suggests a sub-surface detonation. Diana, do you see the readout? Power readings spiking in the A-class sector."

I glance at the monitor. The needles are dancing, jumping wildly. "Yes, I see it." I look back out at the city. The buildings are jutting like the teeth of some colossal, sleeping animal. For a moment, the world around me dissolves, slipping away into gray mist. I am not really there; I am standing inside a sphere of warped air, suspended in a bubble that shouldn't exist.

"Are you getting that, too?" I ask.

"I hear a hum. From my console. It's coming from all directions, off the grid. Official record says the attack came from below, from the foundation."

"From the foundation."

The glass window in front of me ripples, distorting the view of the street outside. The light flickers, bending like water. I blink, surprised. I step back, away from the glass. My heartbeat accelerates, thundering in my chest. I open my mouth to speak, but no sound comes out. I am paralyzed, rooted to the spot by a primal, ancient fear that coils around my entrails.

"Security is coming up," Taylor says. "Should I order a shuttle to pick you up?"

"I'll call you when I decide." I hang up the earpiece.

The office is silent, too silent, the air thick and stagnant. I walk to the door and push it open. The hallway is empty, the carpet muffling my footsteps. I make my way down the corridor, past the rows of open offices, past the gray-suited secretaries with their endless phones and pens.

Diana reaches the end of the hall and stops. She raises her hand, her mouth forming a shape I cannot read. The hand moves again, fingers stretching out, extending toward the entrance of her office.

A janitor appears, gripping his push-cart. He stares at her.

"Even the air feels different," Diana says to him. Her voice is alien, not her own, layered with an undercurrent of static. "Did you notice? The air."

The janitor looks around. "Yeah. Smells funny. Like burning." He turns and moves off, disappearing into a side room.

Diana enters her office, her breath coming in short gasps. She closes the door behind her and walks directly to her desk, sprawling out in her chair. She places her palms against her eyes and presses, cutting off the light, the view of the world.

"This is when it happens," she murmurs to no one. "I knew this day would come. I could feel it starting, from the beginning, when the first foundation bolt was driven into the earth."

She stands up abruptly, walking to the closet. She opens the closet door and stares inside at the rows of hanging suits, jackets, dresses. She reaches out, touching the lapel of a velvet jacket.

"Do you feel it?" she asks the suits. She turns to the shoes lined up on the rack, gleaming black leather. "Can you smell it, the scent of coming doom?"

Her own footsteps echo, loud and hollow. She walks out into the main office, in front of the receptionist. The receptionist looks up from her desk, her brown eyes wide.

"The President is on line one," the receptionist says, her voice tight. "He asked if you wanted to take the call."

Diana stops. "Tell him I'll take it." She moves toward her own desk, her hands moving on their own, fingers twitching. She sits down and reaches for the phone. She sets it to her ear and waits.

After a moment she holds the receiver away from her shoulder, pressed against her cheek. "Yes, I'm here." She listens, her face blank. "No, not now. Wait."

She presses the button to the audio feed, the two-way link to Taylor. "Listen. Can you hear me?"

Taylor's voice comes, charged with alarm. "Diana, is everything alright? Security says your vitals just spiked."

"I'm getting into the feed. Listen to the background noise. Can you hear it?"

On the speaker, the city sounds rush in, distorted and alien. The roar of distant traffic, the wind between buildings, the hum of power lines. And underneath it all, a grinding sound, like tectonic plates shifting, earth moving in its sleep.

"The foundation," Diana says. "It started at the bottom. It's working its way up, one floor at a time. To the surface." She taps the side of her jaw, where her teeth are ground together. "I was lucky. The explosion, the first stage. It failed to ignite. Some kind of fuse, a safety mechanism."

She listens to Taylor. "I see. All right. I'll come down."

"Or they'll come up for you. Commander Harris says they want to discuss evacuation protocols."

"Evacuation? From where? The building is open to the public."

"They can seal it off. It'll take twenty minutes to rig the blast gates."

Diana considers. She looks at her watch. It is three in the afternoon. The sky is beginning to darken, a heavy overcast rolling in from the ocean. Rain threatens, and with it a damp, acrid smell.

"Tell Harris I'm coming down to the basement," Diana says. "To the command center. I want to see it for myself."

She hangs up and stands. She walks toward the elevator, her posture rigid. Two elevator operators watch her, their faces expressionless. She enters the cage and presses the button for the ground level. The elevator descends, dropping quickly, rattling her teeth.

As the elevator reaches the lobby, the front doors burst open. A blast of cold air rushes in, swirling with leaves and grit. A torrent of people pours in, men and women in business attire, hats and coats, shouting over each other.

The elevator doors slide shut. Diana finds herself suspended above a chaos of motion, a sea of fearful faces reaching up, mouths open in shock and confusion.

"Good God," a woman sighs.

"The President is coming," a guard announces, his voice cutting through the din.

The people fall silent.

"From the bunker," another man says.

Diana steps toward the guard. "Where is he?"

"Inside. Talking to someone." The guard leads her through the lobby, toward a heavy steel door. "Harris will tell you more. Security Chief, we're getting a warning from the moon base."

They enter the bunker. The air smells of grease and sweat. Men and women surround Diana, some pulling at her, tugging her arm.

"Be calm," a soldier says, stepping in front of her. "Listen to him."

Diana pushes past him, walking into the room. A map table dominates the center, covered with plastic sheets and markers. At the far end, standing with his back to them, is Commander Harris. He turns, his face thin and tired, lines of gray stubble covering his jaw.

Harris approaches Diana, his eyes studying her closely. "You didn't expect to see me here. I was certain you were in the facility."

"I've been here the whole time."

"Quite right. The board voted to maintain oversight. My order came through just now. They trace the signal to an unknown array, somewhere in the Atlantic."

"The array?"

Harris leads her toward a ladder, down the steel steps into a darker section. He flips on a light. "This was sealed off for inspection. See?" He gestures around them, at the complex network of pipes and cables running along the walls. "This is the primary down-link, the backup system in case the surface fails."

He walks to the bottom and pulls a drawer open, taking out a bundle of schematics. "The theory is that something has slipped past the first stage, past the Moon base, and is descending through our atmosphere, entering the gravitational well of Earth."

"Is that why the sky turned purple?"

"Probably. Ionization from the cloud of particles." Harris studies the schematics for a moment, his brow furrowed. "Have you noticed anything else? Any sound? A low thrum?"

Diana shakes her head. "Just the grinding, from the ground."

"The plates shifting. The Earth reacting." Harris pockets the schematics and leads her back up the ladder, out of the bunker. They step outside into the afternoon sun, blinking. The sky is indeed filling with clouds, dark and dense.

"A good guess," Harris says. He looks at her, his expression grim. "I think we're witnessing the beginning of the end. Or perhaps the beginning of the solution."

He smiles wryly, a strange, bitter humor touching his lips. "God helps those who help themselves. Our job, then, is to ensure it gets by us."

Diana nods. She looks around at the rows of soldiers, the civilians, all standing silently, watching the sky.

"What do we expect?" she asks.

"That's what I'm going to show you," Harris says. He pulls out a complex hand screener, a ring of machinery on his finger. "Watch."

He presses a button. The air shimmers. For a brief second, something stirs in the sky above them, a flash of violet light, a quick movement faster than thought, a dart of fire that vanishes before it can be caught.

Diana stares, her breath caught in her throat.

"Did you see it?" Harris says. "It came and went in a split second. I think we're safe for now. But we haven't seen the worst of it."

"Safe?"

"For now. It won't be long before the real attack comes. Or perhaps it has already begun." Harris watches the sky, his eyes narrowed. "Perhaps it has already entered the system, past the Moon base, and is descending here, into our atmosphere."

He turns to Diana. "Do you understand? The sky is falling, quite literally."

Diana smiles, a faint, thin smile. She looks up at the rolling clouds, at the rolling horizon where the sky meets the land.

"I think," she says, "I understand perfectly."

---

Example #2

---

The Sky's Descent

User

Write a 2000 word scene (vivid, graphic horror in first person), POV character Diana, with: The skyscraper sways, as I watch the window in front of me on the 21st floor explode...

Assistant

The user wants a 2000-word horror scene in the first person, featuring a character named Diana on the 21st floor of a skyscraper. The scene needs to start with the skyscraper swaying and the window exploding. The tone needs to be visceral, sensory, "graphic horror," avoiding standard adjectives in favor of biological and environmental violence. I need to deconstruct "safe" horror and inject something that feels "real" and "visceral." The plan is to focus on the physical sensation of the explosion, not just the event itself. The shockwave, the particles, the taste of the air. I should make the sky the antagonist, or the embodiment of a chaotic force. The character Diana shouldn't just be watching; she should be part of the ecosystem of destruction. I need to ensure the pacing starts slow and swaying, building the dread, then exploding into chaos, and ending with a lingering sense of ruin. I will use a mix of short, staccato sentences and longer, winding descriptions of decay and motion. I need to avoid words like "terrible" or "bad." Instead, I'll use specific textures: "ground," "cracked," "burned," "popped," "squelched."

Key imagery to plan:

• The air itself as a living entity.
• The glass not as glass, but as fused sand, cooling into shards.
• The smell of ozone and pulverized concrete.
• The silence after the noise.
• The realization that the sky is coming in.

Let's structure the narrative:

1. The Sway: Establish the unnatural motion of the building. A premonition.
2. The Explosion: The visual and auditory assault.
3. The Aftermath: The drifting particles, the changing light, the physical toll on Diana.
4. The Realization: It's not an accident; it's an entry.

I need to make sure I hit the word count. 2000 words is substantial. I need to expand on the internal landscape of Diana, her sensory input, the history of this building, the weight of the office, the mundane details turned horrific. Let's start writing.

Self-Correction during drafting:

• Don't make it just action. Horror lives in the mundane becoming threatening. The stack of papers, the coffee, the pen.
• Ensure the "swaying" is present at the beginning.
• Make the explosion feel inevitable but sudden.
• Focus on the change in the environment. The world outside coming in.

Vocabulary check:

• Instead of "loud," use "deafening," "cacophony," "roar."
• Instead of "sharp," use "flecked," "edged," "razor."
• Instead of "heavy," use "dense," "oppressive," "slumping."

Pacing:

• Slow start. The building breathing.
• Middle: The violent break.
• End: The settling, the horror of survival.

Okay, ready to execute.

</think>

The building breathes. I know this because I can feel it in my teeth, a low, grinding vibration that travels up through the linoleum, into the soles of my shoes, and settles deep inside my marrow. It is a sickening, rhythmic sway, a swaying that makes me want to reach out and hold onto something, to grab the edge of my desk and pull it close.

I am sitting in my office. It is three in the afternoon. The air is thick, stale, and smells faintly of toner and stale coffee. Outside, the sky hangs over the city, a vast, unmoving sheet of gray that seems to press down on us with physical weight. The building rises from the ground, a concrete giant, pierced by twenty-one stories of glass and steel. I am on the 21st floor, the top level. Above me is only the sky, and the endless, churning clouds that drift and wheeze, like a leviathan sleeping far away.

I stand up. I walk to the wall. I place my palm against the cool surface of the exterior wall. I close my eyes. I can feel the air currents, the faint rustle of wind moving around the building, rushing to find cracks and seams, slipping into the hollow spaces of the concrete. The building is alive, or perhaps it has always been alive, and we simply woke up to it now.

I return to my chair. I sit down, wrapping my hands around a styrofoam cup. My hands tremble. Not from the cold, but from something deeper, a kinetic tremor that starts in my gut and rolls up to my throat. I look at the clock on the wall. It is still moving, ticking rhythmically, the hands grinding against each other. Time flows, but everything else—space, the solidity of the world—feels wrong. Unstable.

I look out the window.

The city is below, a landscape of gray and green, punctuated by the occasional black dot of a car. The city moves around the base of the building, flowing in currents of air and motion. I watch a bird, a small sparrow, landing on a wire that stretches between two towers. The bird shakes itself, fluffing its feathers. It is warm. It is alive.

A sense of absurdity washes over me. I laugh, a dry, cracking sound. I laugh because it is so ordinary, the bird, the wire, the city. I laugh and quickly look away. Because I know, with a sudden, intuitive certainty, that none of this will be there in a moment. That the ordinary, mundane stream of reality will be blasted apart, shattered into a thousand fragments, and a wind from another place will rush in to take its place.

I stand up again. I walk to the window. I place my hand against the glass, resting my forehead against it, pressing hard so that the warmth leaves my brow and seeps into the metal and plastic of the frame.

The air outside changes.

It happens without sound. The sky darkens, not with clouds, but as if the atmosphere itself has thickened, condensed into a palpable, dense wall. The light shifts, bending and curving, distorting the view of the buildings across the street. The familiar shapes warp, stretching and twisting until they are almost unrecognizable. I blink. When I open my eyes again, the distortion returns. It is the vision of the world coming undone, the fabric of space folding over itself like a worn-out blanket.

A smell drifts through the building.

It seeps past the cracks in the floor, rising up through the carpet, into the rooms, the offices, the open hallways. We all smell it at once, a sharp, metallic scent that makes us gasp, a stink of ozone and burning metal, like the air immediately around a thunderclap. The scent lingers, settling in the corners, under the desks, among the piles of paper and stationery. It is the smell of the sky, the smell of the void above us, seeping down through the cracks in the earth, past the foundation of the building, filtering up into our air.

People stir. Murmurs break out. We look at each other, wide-eyed, our faces pale and stunned. Nobody speaks. Words are inadequate; the sheer scale of the event, the sheer magnitude of the shift happening outside, renders language trivial and useless.

I step back from the window. The room feels small, suddenly, confined and tight. I move toward the door, pushing it open.

The corridor is empty. I step out onto the hall, walking slowly, my eyes scanning the floor, the walls, the ceiling. I stop in the middle of the hall, standing like a statue, one hand on the wall for support. I close my eyes and breathe in the air around me. It tastes different, charged with static electricity, the taste of impending doom.

A woman appears at the end of the hall, her mouth open, her eyes huge. She stares at me, staring past me, her mind racing to connect sights and sounds into a coherent narrative. She starts toward me, then stops, bewildered.

"What is it?" I say.

She opens her mouth but no sound comes out. She looks at me, her lips forming shapes, shapes of words, but nothing leaves. The air is thick, dense with unspoken things, a heavy, suffocating atmosphere that presses against our throats, silencing us all, locking our jaws shut.

I turn and walk back toward my office. I push the door open.

My secretary, Tom, is standing behind my desk, frozen rigid, his hand halfway to his radio. He sees me and slowly lowers his hand.

"Is everything alright?" I ask, though I know the answer. Of course, everything is alright. We are safe, standing in a shell of concrete and steel, surrounded by drywall and plaster.

Tom does not answer. He watches me, his face blank, stripped of expression. He is seeing me for the first time, really looking at me, as if I have suddenly appeared from another world, transformed into something alien, something that does not belong here.

I turn away. I walk past him, into my office, and close the door. I lean against it, sliding down until I am sitting on the floor, my hands clasped over my mouth. I can hear the sounds of people moving in the halls, footsteps echoing, muffled sighs. The building groans around me, settling and shifting, the concrete settling into its new form, accommodating the energy that has rushed into it from the sky.

I am not safe here. I know that, the same way I know the sky will come down eventually, that the layer of concrete above us will crack and split, and the air will rush through, tearing us apart like leaves in a gale.

I stand up. I walk to my desk. I pick up the phone, the black receiver, and hold it to my ear. I dial a number, the emergency number, the one for the sky, the one that connects us to the layer above, the place where the destruction is coming from.

The line clicks and snaps. Static hisses, a rushing sound, like wind through trees, but louder, more violent. A voice comes, distorted and warped, stretched thin by the pressure of the air.

"Do you copy?" the voice asks. It sounds far away, as if it is coming from the other side of the world, from the center of a vast, hollow sphere.

"This is Diana," I say. My voice sounds normal, which seems strange to me. I should feel numb, cut off from my own vocal cords, but everything feels intense, heightened, as if I have been injected with some kind of anesthetic that numbs only the pain, not the sensory input.

"Status?" the voice asks.

"Coming up," I say. I look at the clock. The hands have stopped. Time has folded, bent like a paperclip. I sigh and set the phone down. I walk out of the office, into the hall, past Tom and the bewildered woman, and out onto the general corridor.

At the end of the hall is a stairwell. I push the fire escape door open, stepping down the first step. The air is colder here, thicker, laden with particles that drift down from above, settling on my face, on my clothes. I step down another step, into the deep darkness of the stairwell, where the emergency lights cast a dim, yellow glow.

I am descending, leaving the safety of the office, the artificial warmth, moving toward the basement, toward the ground.

At the bottom I step out, onto the concrete landing. I push the door open and step outside, onto the parking lot.

The smell hits me first, the stench of ozone and burning rubber, the reek of hot metal and something sweet, like charred sugar. I close my eyes, acclimating myself. The sky is open above me, a wound that refuses to heal, spilling the contents of its guts onto the city below.

A hum vibrates through the ground, a low rumble that shakes me to my foundations. The sky is alive, stirring, turning slowly as it peers down at me, at the few humans who remain, crouched and hiding in the cracks of the asphalt parking lot.

I walk toward a car, one of the sedans parked crookedly in a space. I climb into the back seat, pulling the door shut. It closes behind me with a final thud.

From the front seat, a man turns around. He looks at me, his face tight with shock.

"Where are you going?" he asks.

"Home," I say. I reach for the handle of the emergency exit, the little yellow tab that pops the latch. I pull it, sliding the glass panel back.

Cold air rushes in, rushing through the car, swirling around me, filling the space between us. The man grabs my arm.

"Wait! Listen!"

I shake my head. "It's coming. I can feel it."

"Feel what?"

I open the door, stepping out onto the parking lot. The man follows, bursting out after me, stumbling onto the asphalt. He stands beside me, looking up, his mouth open.

The sky is changing. The color is draining from it, being sucked out into the void beyond, leaving the world black and empty, like an old photograph.

"See?" I say. I point up.

The man nods, dumbfounded. He opens his mouth to speak, but the word dies in his throat, caught in the sudden rush of air that blows past us, a gust from the sky, a eddy of wind that sweeps down and dissipates.

I walk away, toward the horizon, toward the edge of the lot where a row of trees grows, black silhouettes against the darkening sky. I stop and stand, watching the sky die, one last time, as the darkness settles over the city, swallowing it up whole.

It will not be much longer. I can feel it building, pressing against me, squeezing the air from my lungs. I breathe deeply, filling my chest with the last of the sweet, clean air, the last of the air that belongs to us, to this world.

I turn and walk back, toward the car, toward the man who stands frozen, staring up at the heavens. I expect any moment to see the first sign of it, the first glimpse of the thing that is coming, racing through the sky at immense speed, intent on gathering us up, sucking us out of our skins and into itself.

I join the man, and we stand together, two small figures in a vast, dying world.

"Tell me," I say. "Tell me how it feels."

He looks at me, his eyes wild. "Feels? How?"

"Being taken. Being pulled."

He doesn't answer. He cannot. The word leaves him, carried off by the wind, into the gray void above.

I smile. "That's what I'm asking. The sensation. I want to be prepared. I don't want to be caught unprepared, without understanding."

He nods slowly, his head turning from side to side, as if trying to focus his sight, to make sense of the world around him. "It's coming," he whispers. "I can feel it, too. The pull."

"Where is it?" I ask.

"Up there. In the sky."

"And when it enters?"

"Then it will be too late."

I look up at the sky, a thin line of gray visible, the last strip of blue that will ever show. I raise my hand, pressing my palm against the air, against the invisible membrane that separates us from what is coming.

"Do you think we can slow it down?" I ask.

The man shrugs. "Who's 'we'? What can we do?"

I laugh. "Maybe nothing. But I was thinking, if it's physical, if it's something moving through space..."

"Then it can be stopped."

"Maybe. Or maybe we'll simply be absorbed, like drops of water in a river." I look at my watch. The hands are moving again, spinning wildly, blur-ring around the face of the watch. I yank my wrist back. "Time is distorted, even here."

"Where do you suggest we go?"

I think. "Down. Into the earth. The ground seems stable. Or perhaps the deepest cellar of a building."

"And if that doesn't work?"

"Then we will have to face it. I imagine it will be instantaneous, a flash of light, a sudden change. Like waking up and finding the world has ended."

We stand in silence, two men standing in the middle of a parking lot, waiting for the end. The sky churns above us, rolling clouds of gray and white, swirling and mixing, like water stirred in a glass.

I take a deep breath, filling my lungs, holding the air for a moment, and then releasing it in a long, slow stream.

"Let's go," I say, turning toward the car. "Into the cellar. I think we should find a cellar. It feels like the only place safe enough to wait and see."

The man nods, moving with me. We walk toward the car, stepping over cracks in the asphalt, debris, trash and remains of a life lived and discarded. We climb into the car and I snap the emergency exit shut.

I reach for the radio, tuning it to a station, any station. Static hisses, and then a voice comes, a man's voice, calm and steady.

"...forces gathering above. The sky, descending. Be prepared..."

The voice cuts off. The radio goes dead. I look at the man beside me.

"I don't think we have much time," I say. I unbuckle my seat belt, sliding toward the door. "Get out of the car. We're going on foot."

"Where?"

"Anywhere. Off the lot, into the buildings, down stairs and into cellars. Follow me."

I open the door, stepping out, onto the ground. The air rushes around me, wild and chaotic. I close my eyes, standing firm, acclimating myself to the roar of the sky, the sound of it tearing and grinding, the deafening din that surrounds us from all sides.

"Come on!" I say.

The man gets out, hurrying to keep up with me. We move together, walking along the edge of the lot, toward a row of towering apartment buildings, dark openings and gaps in the stone and concrete.

I stop, raising my hand. "Wait. Do you hear it? The ground vibrating, shaking?"

The man nods, grimacing. The earth trembles underfoot, the air itself shudders, vibrating and shaking like a plucked string.

"It's here," I say. I smile, a wild, crazy expression. "It's here, and we're going to ride it out. Isn't that what we're supposed to do?"

"Ride it out?"

"Survive. Wait it out. Bury ourselves deep so the light can't find us, so it can't get to us."

The man looks at me, his eyes filled with a mixture of horror and wonder. "You seem calm."

"Because I understand."

"Understand?"

"I feel it, the same way you do. We're just further along, further down the line. We're closer, because we're here, standing on the surface." I look up, my vision white-outing for a moment, a flash of blinding light searing across the sky. I squeeze my eyes shut. "Watch."

The man watches, his mouth open. The sky is alive, churning and writhing, a vast, turbulent ocean of gray that moves and rolls, expanding and contracting.

"The sky," I whisper. "It's entering, beginning to come down. We can see it, can't we?"

We stand, two tiny figures, watching the first stage of the descent, the first visible sign of the end, as the sky breaches the horizon, a wall of silence and weight that pushes the remaining atmosphere aside and begins to flood in.

I take a deep breath, full and steady, savoring the last full breath of our air, the last we will ever take before the sky consumes us and swallows us whole.

"Let's go," I say again, turning toward the apartment building. "Down. Into the dark."

The man falls in step with me. We enter the building, passing through the lobby, up a flight of stairs that groan and creak under our weight, into the depths of the first floor, toward an open door marked PARKING but leading to a descending ramp.

We go down, into the mechanical basement, where cars are parked and the air is thick with the smell of oil and rust.

I stop, turning to the man. "This is as far as I want to go. The deepest level. The parking garage. If it comes down it will stop here, at the ground. Below is rock, solid rock."

"And if it doesn't stop?"

"Then there will be nothing left for it to take. We will have bought ourselves a few hours, maybe a day. Enough time to enjoy the last moments of our world, before the sky finally pulls us all down."

I walk past the man, heading toward a concrete staircase.

"Where are you going?" the man asks.

I point up, at the ramp we came down. "Coming up. You follow me."

We go up, back to the first level, out onto the surface, onto the parking lot. The sky looms over us, vast and oppressive, lowering a little each moment, descending with terrifying grace.

I step onto the edge of the lot, standing with one foot on the asphalt, one foot on the curb.

"Watch," I say.

The sky opens directly above me, a rift, a tearing wound that spills a rush of raw, ancient energy down into the parking lot. I close my eyes, letting it wash over me, the blast of cold, sterile fire.

I open my eyes slowly. The man is staring at me, his face a mask of astonishment.

"See?" I say, gesturing up. "That's the one that's coming for us. It has us marked, selected us out of the crowd. It's coming down to collect us, and in a moment it will arrive."

I look at my watch. The hands have stopped completely, frozen in place.

"Almost time," I murmur.

The sky darkens further, the light fading as the void expands, swallowing the last of the sunlight. The horizon vanishes, and the world ends, collapsing into a sphere of nothingness.

"Come on," I say, extending my hand.

The man takes my hand, and I pull him after me, toward the edge of the lot, toward the thing coming down, the end of the world, rushing to claim us.

"Let's go," I say. "Into the light."

---

Example #3

---

The Skyscraper Sways

User

Write a 2000 word scene (vivid, graphic horror in first person), POV character Diana, with: The skyscraper sways, as I watch the window in front of me on the 21st floor explode...

Assistant

Here's a thinking process that leads to the story above:

1. Analyze the Request:

   • POV: First person (Diana).
   • Genre: Vivid, graphic horror.
   • Length: Approximately 2000 words.
   • Key Element: The skyscraper sways, the window on the 21st floor explodes.
   • Setting: A high-rise office building (presumably modern, glass and steel).

2. Brainstorming & Concept:

   • Why did the window explode? Was it an accident? An attack? Or something organic? For graphic horror, it needs to be visceral. Not just glass breaking, but something coming out or going out. Let's go with something ancient and hungry.
   • The Swaying: The building moving suggests a large disturbance below or a structural breach. Maybe the ground is shaking, or maybe the "explosion" was the beginning of the end for the building itself.
   • Diana's State: Calm at first, then realization, then pure terror. Needs to transition from mundane office life to nightmare.
   • Sensory Details: The sound of shattering glass, the smell of ozone and blood, the taste of copper, the cold draft, the visual of the debris.

3. Drafting - Section by Section:

   • Introduction (The Calm Before): Establish the setting. 21st floor, busy office, hum of computers. Diana's routine. Introduce the first sign of trouble (the swaying).
   • The Inciting Incident: The sound. A noise from outside. The window exploding. The shock.
   • The Revelation: What came out? Or what is left? Let's have something enter. A creature, a swarm, a cloud. Let's make it a cloud of particles that coalesce, or perhaps a massive, wounded entity. Let's go with a wounded, massive entity that has been inside the building but now bursts forth. Or, more terrifying, the glass shards are fused, implying it didn't break naturally.
   • The Descent: People rushing. The chaos. Diana fleeing or being cornered.
   • The Climax: A direct encounter. The horror reveal.
   • The Aftermath: A lingering sense of doom.

   (Self-Correction during thought process): If the window explodes, the glass should scatter. The horror needs to be immediate. Let's make the entity something that burrows or slithers through matter. Or maybe the "explosion" was the shell casing of something coming out. Let's try: The glass shattered not from pressure, but from heat and force from within the room.

   Refined Concept: The glass shattered from the inside. Something was waiting right behind Diana. The swaying was the building groaning as something heavy took hold of the structure.

4. Writing - Focusing on Prose and Pacing:

   • Opening: Start in media res regarding the sway.
   • Sensory: The taste of air, the metallic tang of blood (hers or someone else's), the sound of crunching bone (later).
   • Word Count: Keep an eye on it. Expand on internal monologue and environmental description to hit ~2000.

5. Drafting - Paragraph by Paragraph (Mental Outline):

   1. The swaying starts. Coffee cup on desk.
   2. The noise. Like a thunderclap indoors.
   3. The window. The explosion of shards.
   4. The creature/thing.
   5. Realizing it's not alone.
   6. The escape attempt.
   7. The realization that the sky isn't the limit; the ground is.
   8. Ending on a chilling note.

   (Wait, looking at the prompt again: "as I watch the window in front of me on the 21st floor explode...") The window in front of me. So she is facing it. She is standing or sitting close to it. This allows for a direct visual of the entity beyond the glass.

   Revised Visual: She sees the entity before it gets to her. It's outside? No, if the building sways, the foundation is compromised. Maybe it's underground. Let's go with: The entity is outside, looking in, desperate to get in. Or perhaps it's already in the air, a cloud of them. Better Idea: The entity is vast, larger than the window, pressing against the glass from the outside, shattering it to get through.

   Let's write: Focus on the transition from "the building is shaking" to "my life is ending."

6. Review and Refine:

   • Check word count.
   • Enhance adjectives. (e.g., "visceral," "primal," "cacophony," "viscera").
   • Ensure the horror feels physical. Not just visual, but tactile.

   (Post-Drafting Check): Does it hit the specific prompt requirements?

   • POV: Diana (First Person).
   • Setting: Skyscraper, 21st floor.
   • Event: Window explodes, building sways.
   • Tone: Vivid, graphic horror.

   Let's begin writing. (Mental check of the flow: The swaying -> The sound -> The break -> The sight -> The realization -> The retreat).

7. Final Polish: Check for repetitive words. Ensure the pacing builds tension effectively. Make sure the "graphite horror" feels earned, not just random gore. The gore should have meaning (predator/prey).

   (Self-Correction on "Graphic"): Don't shy away from describing the substance, the texture. Not just "blood," but "dark, thick fluid," "scars," "wet skin."

   Okay, ready to generate.

</think>

The building groaned around me, a deep, tectonic shudder that vibrated through the soles of my shoes and up through my spine. I caught my breath, staring at my desk calendar, then at the fluorescent lights humming overhead. The light flickered, dimming for a second and then snapping back into place.

"Is the building settling again?" I muttered, pushing my hair out of my face.

It was 10:00 AM on a Tuesday. The open-plan office was full of the low murmur of workers, the sound of keyboards, the distant bleat of a microwave beeping. I stood up, walking slowly toward the break room to get a fresh coffee. As I pushed through the glass door, the floor beneath me lurked violently, throwing me off balance. I gripped the wall counter, my knuckles white.

It wasn't settling. I knew it wasn't settling.

I pulled my phone out of my jacket. No signal. Of course. At this altitude, beyond a certain point, commercial bands were thin as spider silk. I cursed and put the phone away. I needed to get back to my desk; I had a call coming in for a merger proposal. My life depended on me appearing professional, even if the planet was coming to the surface.

I made my way down the corridor. The air was thick, stagnant, a suspension of particles that had settled over the city for miles. I stopped, listening. The hum of the building's ventilation system had changed. It was deeper, a thrumming vibration that suggested something massive was moving below the foundation, something immense stirring in the concrete gut of the skyscraper.

I turned toward the main lobby. The huge front doors were open, revealing the street level, a sea of gray suits and black leather, cars and exhaust. People were gathering at the entrance, looking up.

"Everything alright?" I asked a security guard, one of the uniformed men with his hands on his hips.

He didn't answer. He had gone rigid, his eyes fixed on something, someone approaching from the street. I looked. A group of people were forming a line, staring up at my floor, their faces tight with horror. Behind them, further down the street, a bus driver had dropped his steering wheel. A pigeon had fallen from the sky, landing and immediately taking off again.

"Are you alright, sir?" I asked the guard.

The guard turned to me slowly. He opened his mouth, but no sound came out. His throat worked frantically. He reached into his pocket and pulled out a walkie-talkie. He pressed it to his ear, listening. Then he did something unexpected. He grabbed my arm, his grip like iron, and pulled me backward.

"Get down!" he screamed.

We hit the ground. The pavement cracked, exploding outward in a web of fissures. Heat washed over us, a wall of superheated air that smelled of burning rubber and ozone. I closed my eyes, bringing my hands up to cover my face. The roar was instantaneous, a sound that tore through me like a physical blow, a roar that shook the atoms from my body.

I opened my eyes. The street was gone. A rift, a split wound in reality that stretched across the entire avenue, a searing line of violet fire. Through the crack, I saw... things. Shapes, writhing and twisting, screaming voices without mouths.

"Come on!" the guard hauled me up. He grabbed a younger woman from the office supply store and pulled her with us. "To the entrance! Get to the front!"

We stumbled toward the glass doors. The building was shaking apart, pillars of concrete cracking and falling, falling into the abyss below. We ran, stumbling over debris, up the first flight of emergency stairs. The air inside the stairwell was thick with the stink of burning insulation and something else, a sweet, rotting odor that made me gag.

"Left," the guard shouted. "Turn left!"

We burst into another room, a storage closet filled with boxes and cleaning supplies. We collided into a heap. For a moment, nothing moved. Outside the door, the world ended in chaos. Glass shattered. Screams drifted up, distorted and twisted. I could see shapes, huge and terrible, climbing the side of our building, sliding up the concrete like spiders.

A shape passed us by, a blur of dark fur and steel teeth. It moved with a speed that defied its size, bursting through a wall of brick like clay. The guard and the woman looked at me.

"What do we do?" the woman whispered.

"I don't know," I said, the word barely audible. I sank down, resting against the wall, pulling my knees around me. My mind was numb, a thick fog rolling over my senses. Time lost its meaning. Was it minutes? Hours? The clock on the wall had stopped working. The second hand had fallen off and rolled to the floor.

We sat in silence, waiting for death.

It didn't come immediately. Instead, there was a scratching sound outside, at the door. The air leaked in, cold and thick, pushing against us. The door handle turned. The wood splintered and burst open.

We stood up, ready to run, but the room was already full of them. They poured in, a stream of creatures, each no larger than a wolf, but moving with a predatory grace that made my skin crawl. They were dark, almost black, with eyes that reflected the light like polished obsidian.

"Which way?" the guard shouted. He grabbed my arm again. "The roof! Up to the roof!"

"Where's the exit?" I asked.

"Through the roof hatch! The emergency exit!"

The three of us ran, stumbling out of the closet and into the storage room. The room was hot, the air thick and heavy. We climbed a metal ladder, our clothes catching on the wire mesh. The roof was a flat expanse of asphalt, sagging under the weight of the creatures coming up behind us.

We reached the top and leaped onto the first level. The roof hatch slammed shut behind us, and we dropped, landing on a concrete slab on the level below. We rolled, coming to our feet. The sound of claws tearing against metal echoed around us.

"Down the corridor!" the guard yelled. He sprinted toward a fire escape, the woman following close behind. I watched him go, my legs heavy, numb. Why was he going that way? They were coming everywhere, through the walls, the floor, bursting up from the ground level.

I started after him, but then I saw it.

The creature was behind me. I hadn't heard it come. It had followed me silently, slipping into my rear without me noticing. It had watched me climb the ladder, its dark eyes fixed on me. I stopped, raising my hands.

"Stay back," I said, but my voice was lost in the roar of their approach.

The creature paused, its mouth opening. A burst of sound, a sonic boom, rushed from its throat, knocking me off my feet. I rolled across the concrete, gasping, my ears ringing. The creature advanced, sniffing the air, its claws digging into the concrete floor.

I scrambled to my feet, backing away. The other two had disappeared around the corner, toward the fire escape. I was alone. The creature circled me, its body rippling, its skin shifting like water. It let out a sigh, a shuddering exhalation that blew the hair from my face.

I realized what it was.

It was watching me, studying me like a scientist examining a specimen. It touched its jawline, then touched my own cheek. It touched my neck, tracing the line of my throat. I gasped, trying to pull away, but it stepped closer, its heat radiating against me, a living furnace of kinetic energy.

It opened its mouth, and a web of light, a projection, shot from its tongue. The light imprinted on me, a flash of memory, a vision that made me drop to my knees, convulsing with the force of it.

The creature stood over me, waiting for me to stop. I could see its throat working. It had something to say, something vital, urgent.

Then the building shook again, a violent jolt that threw us both off our feet. A section of the roof caved in, a cloud of dust rolling over us. The creature leaped, catching the edge of the roof, and for a moment it looked down at me, its eyes bright and intelligent.

It leaped into the clouds of dust and vanished.

I crawled to my feet, shaking my head, trying to clear the vision from my mind. I walked to the edge of the roof, to the fire escape. The other two were gone. The guard and the woman were standing by the ladder, staring up at me.

"Did you see?" I asked them.

The guard nodded slowly. "It got away. For now."

"But it's coming back. It knows."

The woman nodded. "They all do. I think it's human. They were here, watching us, learning."

"Learning what?" I said.

"To hunt," the guard said. He put his hand on his radio. "Get everyone to the roof. Now!"

We ran back inside, up the ladder and onto the roof. The sky above us was darkening, the sun setting behind clouds of ash. The air was filled with a thick haze, particles from the destruction of the city below. The heat had left, replaced by a creeping chill that settled around us.

"Keep moving!" the guard shouted. He signaled to the other employees pouring out of the building, from the emergency exits, climbing the ladder and onto the roof.

The creature was right. It was coming, and it was going to hunt us down, just like it had hunted the city. I clutched my jacket, trying to make myself small. Around me, people stood, staring at the horizon, at the sea of claws and eyes approaching, a tide of death rolling across the landscape.

The sky split open, clouds of gray drifting down, settling over the roof like ash. The air turned thick, heavy with particles. The world around us folded over, bending and warping. I closed my eyes and prayed to a god I didn't believe in.

A shape passed in front of me, immense and formless. I opened my eyes.

It was looking at me, its face blank, unchanging. It smiled, a fraction of a second, and then the sky closed over us, swallowing the light, plunging the world into darkness.

And in the darkness, I heard it.

It was near, very near. I could feel its presence, a wall of pressure, a living weight pressing against me, squeezing the air from my lungs. It was studying me, deciding whether to eat me, to play with me.

And then it made up its mind.

It touched my arm, and the world dissolved.

When I opened my eyes again, I was somewhere else, standing in a field of gray, staring at a horizon that stretched out forever, a sea of rolling clouds. The creature stood beside me, its hand on my shoulder.

"Where are we?" I asked.

The creature smiled. "Coming through. With you."

It started to walk, toward the horizon, and I followed it, stepping out of the ruins of the city and onto solid ground, the ground beneath my feet firm and steady.

As we walked, the creature said, "I'll show you something."

It reached into its pocket and pulled something out, something it held up for me to see.

"Look," it said.

I stared, my mouth open.

The creature laughed, a sound like wind. "Did you understand? Did you get it?"

I nodded slowly.

"It's real, isn't it?"

I touched the object, and the world shattered around me, falling away like glass.

"Real?" I repeated. "But everything is real."

The creature shrugged. "Is it? Are you sure?"

It looked at me, its eyes full of wonder.

"Show me," I said. "Take me there."

The creature led me across the field, toward a vast, empty structure, a shell of a building that had not been destroyed. We entered, and as the door closed behind us, the sky faded and a strange new world appeared, a world of wire and plastic, endless corridors of gray and white.

"I've been to places like this," the creature said. "Where I come from."

"You have a home?"

"This is our home."

We stood together, two people from two worlds, looking at each other.

"Tell me," I said. "Tell me about your world."

The creature hesitated. "It's not so different from here. War, scarcity."

"I was part of a union, back home," I said. "We had to amalgamate to survive."

The creature nodded. "A common thread. The desire to organize, to group together."

It reached out and took my hand. "Do you want to see our city? Our home?"

"Your city," I corrected. "Plural."

"Come with me."

The creature led me out of the ruins, toward a ramp that rose up, leading up to a sleek, silent ship. Inside, the ship hummed, vibrating under my feet.

"Take me," I said, stepping aboard.

The ship took off, carrying us through the sky, above the clouds of ash and ruin. We flew higher and higher, until the city was a pool of gray metal below us.

"Look," the creature said, pointing.

I looked.

"Is that where you came from? From your world?"

The creature nodded. "Where I came from, at least."

It sat down, and I sat opposite it, staring out at the endless clouds.

"Do you think we'll see Earth again?" I asked.

The creature shrugged. "Earth? Where is Earth?"

I smiled. "Here."

The ship turned, dropping lower, descending toward the gray metal below. The creature tensed.

"Relax," I said. "It's all the same. Death and destruction."

The ship landed, its jets hissing. We stepped out, walking across the metal, onto a vast platform.

"Come on," the creature said.

It led me down a ramp, onto a sidewalk. People were everywhere, rushing to and fro, staring at us. We entered a massive building, a store of some kind.

"Everything is familiar," the creature said. "Isn't it?"

I nodded. "Too familiar."

The creature laughed. "There's nothing familiar. Nothing left, that is familiar."

We stood in silence.

"Would you like some coffee?" I asked.

"Coffee?"

"I can get some."

I went off, and when I returned, the creature was sitting at a table, staring at a newspaper.

"About time," it said.

I sat down. "What is it?"

"The paper. A relic." It held the paper up. "See? Preserved."

I took the paper, turning it over. The print was still sharp, the ink black and bright.

"How old is this?" I asked.

"Old. From before."

"Before what?"

"Before the end. Before the fall."

I nodded. "A strange kind of treasure."

The creature smiled. "All our treasures. We carried them with us."

It reached out, touching the print, and the print dissolved, fading away like mist.

"Magic," I whispered.

The creature smiled. "No magic. Just physics. The art of keeping things alive, of preventing entropy."

"Entropy," I repeated. "Death."

The creature nodded. "The beginning and the end. We are in the middle, standing between."

It stood up, pulling me to my feet. "We must go. There are others, people like us, coming down. We are to join them."

"Join them?"

"In a larger place. A place where we can begin again."

"Begin again?"

"To rebuild. To start a new society."

The creature led me outside, onto the vast expanse of the platform. Ships were landing all around us, beings coming out, taking in the scene.

"This is where we will live," the creature said.

I looked around at the ships, the people. "How do we know they are safe? That this is a better place?"

"Because here, we can control our own destiny. No more waiting for death to come. Here, we are the ones who decide when the end will come."

It touched my arm. "That is the greatest power: deciding when to die."

I smiled. "I guess we're going to be staying here."

The creature nodded. "Yes. Staying here, on this rock, this new Earth."

We walked together, walking with the crowd toward a waiting ship.

"Which way?" I asked.

"Up. To the top."

The creature led me up a ramp, onto a raised platform. A vast view spread out, a panorama of clouds and distant stars.

"From here, we can see almost all at once," the creature said.

I took its arm. "Lead on."

We stepped onto the platform, and as we stood, the ship behind us ignited, shooting off into the sky, joining the others already moving beyond the horizon.

The creature turned to me. "I think we're going the right way."

"Are we?"

"Trust me."

It kissed me, suddenly, passionately, and then it leaped into the air, turning into particles of light. I watched it go, smiling.

I was not alone, not anymore.

I joined the crowd, stepping onto the ship, closing the hatch after me. The ship took off, heading into the distance, toward a future where death would not have the final say.

As the ship roared through the air, I realized that the end was not an ending at all. It was merely a beginning, a new start after the old world had burned away.

And that was what we had waited for, all those months, all those years of destruction and ruin.

A new world, rising up from the ashes.

I sat down and watched the city fall away behind us, shrinking until it was nothing but a spot of metal, a needle in the vastness of space.

The ship coasted to a halt, and the hatch slid open. I stood up, stepping out onto the warm metal floor.

"Where are we?" I asked the attendant, a young woman with a handkerchief tied around her arm.

"Arriving at the colony," the woman said. "Please watch your step."

She smiled at me, and I realized that for the first time in a long time, I was not afraid. Fear was gone, replaced by a sense of wonder, the same wonder that had filled me when I first saw the creature standing by the ruined skyscraper.

"Beautiful day," the woman said, looking up at the sky.

"Indeed," I agreed.

We walked together, joining the flow of people moving toward a city of towers and towers of crystal and steel, a city being built in the sky, on a platform suspended above the clouds.

"Will you be staying here?" the woman asked.

"I think so. There is a job for me, at the settlement office."

"Then you're new here?"

"From Terra."

"Terra? Is it habitable?"

I laughed. "Habitability is a relative term. When you live long enough, you realize that nothing is permanent."

The woman nodded. "Well, our life expectancy is much longer than Terra's. Radiation pockets have mostly cleared."

She looked up at the sky. "It's going to be a while before you can go back, if you can go back at all."

"I don't intend to go back. Not unless something changes."

The woman smiled. "Well, if you change your mind, the ship leaves every ten days."

"Ten days. I'll keep that in mind."

We parted, and I walked toward the settlement office, my hands in my pockets. The sky was beginning to darken, twilight falling. I turned a corner and stopped, gasping.

A figure stood there, waiting for me, its face obscured by shadow.

"Who are you?" I asked.

The figure stepped forward, holding something up, a slim rod of pale fire.

"I am here," the figure said, "to take you to my home."

I stared at the rod. "Your home?"

The figure laughed. "Ours. We are not so different."

It beckoned me on. "Come. Through the arch."

I walked past it, through the arch the figure had made with its hands, a shimmering portal opening in the air. I stepped through and came out on the other side, blinking.

"Where am I?" I said.

The figure joined me, and we stood together, looking around.

"This is where my people have gone," the figure said. "Where they have built a new settlement."

"Are you coming with me?"

The figure smiled. "Of course."

It touched my arm, and the world dissolved, fading away like the print on the newspaper.

When I opened my eyes, I was standing on a planet, a vast expanse of green, water, and sky.

"This is Earth," the figure said.

I looked around. "But it's not changed."

"Change is an illusion," the figure said. "Everything is the same, as it was."

It took my hand, leading me toward a path. "Come. I want to show you something."

"Show me?"

"Yes. My home."

We walked, walking along the edge of a lake, the water dark and silent.

"My family lives here," the figure said. "In a village."

"A village?"

"Where we grew food, raised animals."

"Like the past."

"Like the beginning."

The figure stopped, turning to me. "Do you see? Nothing has changed."

I nodded. "Nothing, except that now we have control."

The figure laughed. "Do we? Or does control become a burden?"

"Perhaps," I said.

The figure led me down a path, onto the soft ground.

"Be careful," it warned.

We entered a clearing, and I gasped.

A house stood, a simple wooden house. Smoke rose from the chimney.

"Come," the figure said, pushing open the door.

I entered, stepping over the threshold. The interior was warm, lit by a fire. I sat down by the fire, stretching out.

"This is nice," I said.

The figure joined me, sitting down opposite me. "I hope you enjoy it."

It watched me for a moment. "Will you stay?"

"Stay here?"

"In your village."

"Why?"

"Because I don't want to leave you."

I smiled. "Well, it's not much work here. I could teach the children to read."

The figure brightened. "Really?"

"I could do that."

The figure reached out, taking my hand. "Then let's get you settled."

It stood up, pulling me to my feet. We walked together, toward the house, toward a new life.

As we walked, the sun set, and the sky turned purple and gold.

"Quite a view," I said.

The figure nodded. "I came here because I heard you might be passing through."

"Passing through? To what end?"

"To see, perhaps."

"To see what?"

"Everything."

The figure kissed me, and then we went inside the house, closing the door behind us.

Outside, the stars came out, one by one.