The pledge took forty‑five seconds. Elias had timed it.
He knew this because timing the pledge was the only thought he was permitted to have during it—his mouth moved through the words without choice or consideration: “I commit my perception to the Harmonized Society. I surrender distortion. I embrace dynamic equilibrium. Through clarity, we are one.”
Then the screen flickered on. The President had been dead for nineteen years. Elias knew this too, though no one had ever said it aloud. The footage was always the same one minute and forty-three seconds of black-and-white film—President Ilych behind a podium, his voice strong and menacing.
Elias felt like rolling his eyes. “Dynamic equilibrium was not just a virtue; it was a public health requirement.” He heard it every day.
“Color is the opiate of emotional instability. It is the residue of unregulated perception, the false heartbeat of an overstimulated mind, the illusion of meaning imposed upon a neutral world. After all—we did not choose this.”
He glanced at the boy beside him. Theron watched the screen with eager eyes, a face convinced of every word. His State emblem sat precisely two centimeters above his left breast pocket, exactly as the manual specified. He nodded as if hearing it for the first time. Elias had once envied that comfort—the ease of certainty. He no longer knew if he did.
The classroom was grey. The hallway was grey. The sky through the single high window was grey—technically, the correct sky to have.
He had one memory from before. Not an image—just a sound. Something his mother hummed while he was very small. He could not summon it again. He was no longer certain it had ever been real.
There was a word Elias had found in a decommissioned dictionary in the archive, filed under Obsolete Emotional Vocabulary. Cerulean. Three syllables. A shade of blue that, apparently, used to live in the sky on certain mornings in early spring.
The President’s voice still echoed through the classroom. “Color is not truth—it is excess. It is suffering mistaken for depth, chaos mistaken for beauty. In removing color, we remove distortion. In removing distortion, we restore reality. And in restoring reality, we gave you the only future we had left to give—one stable enough to endure.”
The recording ended the same way it always did—enthusiastic applause, loud and unified. The screen held for three seconds in silence.
Grey reduced seizures, violent episodes, and spontaneous catatonia by ninety-seven percent. —Office of Public Health, Year 1
Elias recoiled. Not at the words. At how no one seemed to weigh them at all. The unease wasn’t new.
Every child went through the Sensory Normalization Procedure, typically before memory could organize itself into language.
Yet at night, Elias saw flashes of strange things running through his dreams.
He walked through grey fields—until a single flower appeared, vibrant to the eye. Baffled by its appearance, he studied it, slowly feeling something inside him open.
A hunger he had never known.
He moved closer toward the flower, overwhelmed by an emotion he had no name for. Startled, he woke—and wept. His heart raced in a way that felt less like wonder and more like fever. An impulse—to remain near the beauty—lingered.
He carried the image with him, daydreaming about the impossible color of it, the way its vibrancy had made him feel briefly, terrifyingly alive.
He daydreamed more. Tried to imagine that color in the world around him. Then realized—blushing—that he had drifted again.
“Elias…”
“Elias… anyone home?”
He snapped back. Instructor Tuzio stood before him, her expression curious.
“Where have you been?” she asked, stern but not unkind.
“I—well—I was thinking about lunch, ma’am,” Elias said, voice tight.
He wasn’t hungry at all.
“Focus. Our minds are meant to learn, not dream.” She smiled.
*****
Elias walked home through the grey fields, lost in thought, when he came upon a flower. Like the dream—but altered. He leaned down, breathing in its faint sweetness—when a sudden flash stunned him. He fell backward, gasping.
The fields dazzled.
The flower became something he could not name.
Emotions surged—raw, unfamiliar. A craving rose in him, sharp and immediate. Then, as quickly as it came, it vanished.
The world faded back to grey. His breath slowed, his body unsure what it was supposed to feel now that the pressure had vanished.
Wiping tears from his face, his mind circled the feeling, trying to pin it down. It wasn’t desire. It wasn’t curiosity. It felt closer to starvation—something his eyes had tasted and could not forget.
Eye hunger, he thought.
He began mapping out a plan.
Perhaps the answers were at school.
“The archive,” he whispered. “Yes. It has to be.”
With a resolve that startled him, he decided the risk was worth it. There had to be a rational explanation for what he’d started calling eye hunger. He wasn’t sure when the risk had stopped mattering.
*****
The next day dragged. Elias tried not to daydream while Mrs. Tuzio recited the history of fallen civilizations and why obedience had preserved them. The memory of the flower—its impossible brightness—looped in his mind. He forced the thought away, careful to appear normal, with the uneasy sense that he had brushed against something he wasn’t meant to notice.
Theron kept glancing at him.
Not openly—just enough to feel watched. As a student harmony officer, he was permitted to note irregularities, and Elias felt the weight of that scrutiny settle on him.
When the bell rang, Elias waited until the room emptied, then slipped into the hallway and headed for the archives in the basement of the Original Building. The air grew damp and cold as he descended, heavy with the smell of paper left too long in the dark.
He felt, for once, unobserved.
Why am I seeing these flashes? Am I broken? A glitch?
But the overwhelming color of that flower, the fields bursting with indescribable brightness, pressed into his mind, demanding answers.
He searched frantically.
Procedural records.
“No.”
Presidential addresses.
“No.”
Children’s names. Dates of procedure. Compliance ratings.
Then—a worn manual behind a shelf.
Instability Spectrum.
He flipped through it quickly.
“Some subjects may exhibit pathological tendencies toward sensory adaptation. Early manifestations may appear in nocturnal subconscious activity. During initial symptoms, all unconfined variants—”
The sentence ended in a dark smear.
He didn’t need the rest.
Pathological tendencies toward sensory adaptation.
The word pathological sat on the page like an accusation. He turned it over, looking for the political judgment inside it—the one the State always hid behind clinical language.
It had to be there. He needed it to be.
His mind returned to the field.
Not the flower—but the way everything else had shifted around it. How the ordinary world had felt suddenly insufficient, as though it were withholding something owed. How the hunger had sharpened rather than satisfied.
His hands rose to his eyes.
“What was it?” he whispered.
He had assumed the hunger meant he was missing something.
But what if it meant he was adding something?
The manual did not say such subjects were dangerous.
It didn’t need to.
He set the book down, hands shaking. Turned toward the door—and froze.
Theron was already there.
“What are you doing?” Theron asked.
“Research,” Elias said quickly. “For a project.”
“You know you’re not allowed in here without approval.”
Theron’s eyes stayed on the book. Then on Elias.
Something in Elias wanted to wipe the expression off his face. He swallowed it.
He brushed past him, shoulder clipping Theron’s.
Theron didn’t step aside immediately.
“You’re blocking the exit,” Elias said, and kept moving.
But as he walked down the hallway, the grey no longer felt empty.
It felt engineered to be insufficient.
*****
The days blurred. Each brought another arrival—brief flashes overlaying the world with seductive brightness. Once, he caught himself adjusting his expression—Theron would notice. Elias withdrew. People grated on him, their voices registering as interruptions rather than presence. It occurred to him that he had become an island unto himself—he had not spoken to anyone in days. Not because he had been told not to, but because there had been no reason to.
The realization unsettled him. He let it pass.
The morning addresses irritated him. The cadence felt wrong. The words felt dulled, stripped of something essential.
He longed for the bursts of celestial brightness—the flower, the fields, even a glass of water. He whispered the phrase again, as if naming it might summon the color back.
Eye hunger.
It was no longer a want. It had become a necessity. Without it, the world felt flat, withholding. His existence depended on those moments, and he understood—clearly, fiercely—how little he would tolerate anyone taking them away.
Beauty had shaped him—or so he believed.
Then one day, the flickering did not recede.
The brightness didn’t just stun him—it pulsed behind his eyes like a second heartbeat.
Something inside him stopped filtering.
And for one impossible instant, it was perfect.
The world bloomed into coherence. Joy surged through him—absolute and undeniable. He laughed, breathless, as if he had finally arrived at something he’d been promised all his life. This was it. This was what had been missing.
Everything made sense at once.
Then the sensation kept going.
Sweat poured down his face. The sensation was overwhelming—electric, unbearable.
He staggered outside, intoxicated not with beauty but with excess. Every surface demanded something from him. Every edge insisted on meaning.
The sky flooded with blue—not grey, not white—blue so intense it hurt.
Cerulean, his mind clawed for the word.
His stomach twisted.
Not pleasure—pressure.
This isn’t revelation, a thought surfaced, distant and panicked. It’s too much.
Grey, he realized, had never been a cruelty.
Then he dropped to his knees and retched.
Light sharpened.
Sound tasted like metal.
Color pressed inward, invasive, as though fire beneath his skin. His hands burned. His eyes burned—and he wanted more of it.
He writhed, body thrashing—not in pain alone but in saturation, as if every sensation itself had turned hostile.
With a final, desperate reach for something neutral—something to give comfort—he collapsed into another body, another student—one with the emblem, two centimeters above the left breast pocket. Warm liquid spewed from his mouth, soaking the fabric between them.
And then the world went mercifully, truthfully dark.
The student beneath him did not move for a moment. Then he blinked—once, hard—as if something had struck the back of his eyes. The last thing Elias felt on earth was the pressure behind his eyes releasing at once—no longer his, no longer contained.
And now somewhere beyond the fields, the hunger began again.
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This is sharp, controlled, and genuinely unsettling—the concept of “eye hunger” carries the whole piece and lands hard. The escalation is excellent: you build from quiet unease to full sensory overload without losing grip on clarity or pacing.
A few gentle notes, offered in good faith:
A few spots could tighten for even more impact. Sometimes the language leans slightly explanatory (e.g. naming the shift in his thinking), where you could trust the reader to feel it without being told. The strongest moments are where you don’t explain—the flower, the flashes, the final collapse—those hit clean and linger.
Theron is a nice pressure point, but you could push that tension a touch further—his presence works, but feels slightly underused as a threat. Even one sharper interaction might amplify the paranoia.
That ending works. It doesn’t just resolve—it transfers the unease outward, which is exactly right for this kind of story.
Noticed your quiet support too—means more than you think.
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Thank you!! Feedback like this is hard to come by, and I can tell you read it carefully. I love being told where I can improve—that's the only way my craft grows!!
Your note about trusting the reader lands. I reach for explanation too many times, especially when I get nervous the emotion isn't coming through—which is exactly the moment I should step back and let the image do the work. It's a bad habit I'm working on. The flower, the flashes—you're right, those hit clean because I got out of their way.
Theron is unfinished, and honestly a missed opportunity. I was too focused elsewhere and let him slip.
The ending—I'm relieved it transferred rather than resolved. That was the instinct, but instincts are hard to trust mid-draft.
And thank you for noticing the quiet things!! Appreciate your work!
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Small thing: it’s not a missed opportunity—you can still edit on Reedsy, so nothing’s lost yet.
Over-explaining is probably the most common trap; almost every writer leans on it at some point.
Rule of thumb: if it’s not dialogue and it doesn’t actively move the plot, it can usually go. 👍🏼
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Thanks!! I had no idea we could still make changes. I really appreciate the feedback. I made a few small additions and edits and finished Theron’s story. I also took your advice on the eye hunger section, which I’d definitely overexplained. It feels much more precise now.
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Interesting read. For sure not "better in color." Your story is interrogating both the prompt and the conventions of dystopian fiction! Thanks for the good read. One minor point: Think a little more inner-world emotion from Elias would enhance the story.
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I think I’d call this counter-dystopia, if such a thing exists. The story deliberately argues against one of dystopia’s most sacred assumptions, rather than reinforcing it. I just hope readers give it the time it needs to reveal that reversal.
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Thanks for the advise!!
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This, to me, is a "scary story", by the descriptions of what normal is, and how the absence of color is integral to the social order. I see the story, in a literal sense, but also a metaphorical one, as an important exploration into "conformity", and being forced to see the world in a certain way. Great writing style, as well!
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Thank you for the thoughtful response. To me it is also very scary. The tension you identified—between what a society suppresses and why it suppresses it—is exactly the space the story lives in. I'm glad it unsettled you. That was the intention. I really appreciate you taking the time to engage so deeply with the piece.
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I really like how you handled the prompt and the atmosphere in this story. I also enjoyed the internal conflict Elias experienced and the way you described his encounters with colors. Excellent work!
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Thank you so much for reading and for such a thoughtful comment. I’m really glad the atmosphere and Elias’s internal conflict came through—especially his relationship with color. That tension was something I wrestled with a lot while writing, so your words are appreciated.
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You're welcome. You did it well.
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