On weekends, when business was brisker, Ruby Roo worked as a receptionist for the Tina Queen Photographic Gallery, located almost exactly a city block west of her multi-story treehouse house she still resided in. But former housemate Tin Tin was no more to be seen, and Ruby suspected that he may have been drafted for the most recent version of the Trojan vs. Durexians war over in the east mountains where Timmy was from. Poor Timmy, she laments. Not born to exist in the harsh environment of Meat City — ideally should have stayed put in the hills supported and nurtured by a loving foster mother and father. But wars do that; separate loved ones from loved ones. She misses Tin Tin, but not nearly as much as Timmy.
Ruby puts on a brave face and continues inventorying the most recent batch of photos her boss Tina had taken during the week.
A very prolific snapper she is! But Second Lyfe will do that to you; so easy to take pictures here. Ruby herself, inspired by Tina and also the more abstract work in the Roads Gallery across the, well, road from this one, has taken up playing around with art a bit. Here’s an example of a computer sketch she made for a sculpture tentatively titled “Scratch”:
Here is a related work-in-progress she might call “Itch”:
Marvelous indeed. The more she becomes immersed in an artistic journey of her own, the more she finds herself attracted to rural and bucolic New Island for setting up a potential future studio — maybe at Mabel’s old house? But is the island still there after the Limekiln Catastrophe? Perhaps it depends on if she *wishes* it to be so. And she’s starting to think she does. She does indeed wish it to be so.
Maybe a switcheroo is needed: Fishers Island exchanged back with New Island. *Fishers* Island is destroyed, perhaps by that new burny fellow who just biked across its westward bridge.
The eastward bridge would then open and allow refuges to return to their former homes there, radiation levels subsided.