I absolutely love Titan as setting. A few years ago, I wrote a story called “The Djinn of Titan’s Dunes” (Cossmass Infinities #2, May 1, 2020, for anyone interested) in which a pair of researchers stationed on the moon, well, one thinks he’s found life, and he wants to protect it from a grabby Earth.

One of the central questions I’ve been exploring within these destinations is the idea of dreams, both literal and figurative. There’s a way we live in a dreamworld constantly—both from the daydreams we have about the future (locations we dream of moving to, hopes we have for travels, our wishes for better professions or love lives) to the more mystical experiences of wondering whether, as the Buddhists claim, this world is indeed an illusion.

I got the idea to write a story about several different alien planets in their last few days of existence before the apocalypse. I thought it would be interesting to explore snapshots of these alien societies in their final days. Eventually, I got the idea to connect them through some kind of psychic anomaly that brings them together in their moment of death.

I wanted to write a story set in space or on a spaceship. My main focus is fantasy so whenever I write science fiction or horror, it is always a bit more challenging. This story was inspired by all the human migration stories and movies I’ve encountered but I wanted to add a twist—what if something went wrong midway?

In general, I love the chicken-footed house from Baba Yaga’s story. I’ve often wondered how the world might look from the house’s point of view. Is it a bystander or set piece? Could it be sentient? While I’ve treated the house as its own character before, this was the first time that Baba Yaga herself was entirely removed from the story. Chicken-footed houses multiplied, and suddenly the forest was not so empty.