Run: 2026-02-24-01KJ8VKH3KAGP3F11VD84686BS

Run Details

Model:
Aion 2.0
Duration:
1m 24s
Cost:
$0.009446
Provider:
AionLabs

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The world tore open with a sound like ripping silk and splintering bone. Rory stumbled forward, the cobblestones of Covent Garden replaced by soft, spongy earth that gave way beneath her trainers. The air, once chilled with London damp, now washed over her in a thick, warm wave that carried the scent of overripe fruit and burnt sugar. Nyx flowed through the tear in reality behind her, their shadowy form coalescing into solidity as the portal snapped shut with a final, wet pop. Silence. Then not silence. A low, constant hum vibrated through the ground, up through the soles of her feet. It was the sound of a thousand distant conversations, the clatter of unseen cutlery, the gurgle of vast, hidden stomachs. The sky above was a seamless dome of warm amber, like liquid honey held up to a light. No sun, no clouds, just that constant, gentle glow. “Well,” Rory breathed, her voice swallowed by the thick air. “This isn’t Richmond.” “The Veil is thin here.” Nyx’s whisper came from everywhere and nowhere, a breeze against her ear. “Thin, and… flavoured.” They were right. The air had a taste. Sweet, cloying, with an undercurrent of something savory and rich. It coated her tongue. She touched the Heartstone Pendant at her throat. It pulsed, not with warning warmth, but with a slow, rhythmic beat that matched the hum in the ground. A lazy, contented heartbeat. Before them stretched a path of dark, rich soil, bordered by rows of vines. But these were no ordinary grapevines. The leaves shimmered with a metallic copper sheen, and the fruits hanging in heavy clusters were perfect spheres of deep purple, each one gleaming with its own internal light. As Rory watched, one fruit detached itself with a soft *plink* and floated gently to the ground, where it was immediately absorbed by the earth with a satisfied sigh. “Don’t touch anything,” Nyx advised, their violet gaze scanning the impossible vineyard. “Wasn’t planning on it.” Rory’s hand drifted to the hilt of the Fae-Forged Blade at her belt. The moonsilver was cold, a shocking contrast to the enveloping warmth. A anchor point. “Which way?” The path forked ahead. One route led deeper into the vineyards, towards the source of the humming feast-sounds. The other wound towards a grove of trees with bark the colour of roasted chestnuts and leaves that rustled like crisp pastry. “The pendant?” Nyx suggested. Rory held the crimson stone in her palm. It pulsed steadily, no stronger in one direction than the other. A general welcome, not a guide. “Useless. Happy to be here, though.” “Indulgence dulls purpose.” “Let’s stick to the edge. Get a lay of the land before we commit to a tasting menu.” They took the left fork, skirting the vineyard. The ground continued its soft, giving texture. Every few steps, Rory’s foot would sink slightly, and she’d hear a faint, muffled crunch, as if stepping on a world of buried biscuits. The unease started as a prickle at the base of her spine. Nothing threatened. Nothing moved but the drifting fruits and the rustling leaves. Yet the sheer, passive abundance of it felt aggressive. It pressed in, offering everything and demanding nothing, which was its own kind of demand. They passed a tree whose branches drooped with what looked like golden, flaky pastries. The smell of butter and hot apricot jam wafted from it. Her stomach growled, a traitorous sound in the quiet. “It’s engineered,” she muttered, more to herself than to Nyx. “The smells, the sounds. It’s not just growing food. It’s growing… atmosphere. Ambience.” “A realm where consumption is the highest art,” Nyx murmured. “Every sense is a plate to be filled.” Ahead, the grove gave way to a clearing. In its centre stood a structure. It wasn’t a building, not really. It was a sculpture of interlocking bones—long, curved ribs formed archways, spinal columns stacked into columns, skulls with grinning jaws served as hollow niches where glowing fungi grew. But the bones were white and polished, seamless, more like porcelain than any mortal remains. Between them, streams of clear, sparkling liquid trickled down into a central basin that steamed gently. A fountain. A fountain made of bone. “Cheerful,” Rory said, her voice flat. As they approached, the humming changed. The feast-sounds faded, replaced by a delicate, crystalline music. It came from the liquid itself, each droplet hitting the basin with a perfect, melodic note. The steam carried the scent of clear broth, fragrant with herbs. Nyx stopped at the edge of the bone-white plaza. “Do you hear it?” Rory listened past the music. A new sound, underneath. A wet, rhythmic, squelching noise. Slow. Deliberate. Coming from the far side of the fountain. She drew the Fae blade. The cold of it was a shock in her hand, a welcome slice of reality. She nodded to Nyx, and they split up, circling the fountain from opposite sides. The source of the sound was a figure. It was humanoid, or had been. It knelt by a smaller, secondary pool, its back to them. Its skin was stretched taut and glossy, like a sausage casing, over a form that bulged in strange, lumpy ways. It wore tattered remnants of a chef’s whites, stained with vivid sauces. In its hands, it held a ladle made from a hollowed thigh bone. With a painful, focused slowness, it dipped the ladle into the pool, raised it, and poured the shimmering liquid over its own head. The liquid didn’t run off. It was absorbed on contact, sinking into the glossy skin, which pulsed and distended further with a soft gurgle. The figure shuddered, a tremor of ecstasy or agony, Rory couldn’t tell. “Hello?” she said, keeping her distance. The figure went still. The squelching stopped. With a creaking sound, like leather under stress, it began to turn its head. The movement was slow, degrees at a time. A face came into view. It had no eyes. Just smooth, stretched skin where eyes should be. Its mouth was a wide, lipless slit, perpetually open. A thin trail of the same sparkling broth dripped from the corner. “A… guest?” The voice was a wet bubble, emerging from the slit. It sounded surprised. “No one… comes this way. The main feasts are… east. By the river of honey.” “We’re not here for the feast,” Rory said. The Fae blade felt alive in her grip, its faint luminescence a pale blue against the amber light. “Not… here for the feast.” The creature processed this. Its head tilted. The broth dripped. “Then you are… lost. This is Dymas. All paths lead to consumption. It is the only… direction.” “We’re looking for someone,” Nyx whispered, their form blurring at the edges, becoming half-incorporeal. “A soul. Contracted from Earth. A chef named Alistair Finch.” The creature’s slit-mouth worked. A sound like a damp chuckle. “Finch. Yes. The perfectionist. He works the… night breads. In the ovens of sighing grain.” A bloated, fingerless hand gestured vaguely westward. “But you should not go. You are still… lean. You have… hunger. He will want to fix that.” “We’ll take our chances,” Rory said. “Chances.” The creature seemed to savour the word. It raised the bone ladle again, but instead of pouring, it offered it towards Rory. The hollow cup held a measure of the clear broth. “A taste? For your journey. It is the essence of clarity. Of… purpose. Before you lose it.” The smell was incredible. It promised focus, understanding, the answer to every nagging doubt. Her mouth watered. Nyx’s shadow fell across the offered ladle. “We decline.” The creature’s head drooped, a gesture of profound sorrow. “A waste. All this… potential flavour.” It turned back to its pool, the invitation withdrawn. “The ovens are deep. The dough is… hungry. Mind it does not… prove you instead.” The squelching sound resumed. The audience was over. Rory backed away, blade still raised until they were back on the soft path. The encounter left a greasy feeling in her gut that had nothing to do with hunger. “A helbound soul,” Nyx stated, solidifying beside her. “Trapped in the act of his obsession. Forever tasting, never satisfied.” “Alistair Finch is here,” Rory said, the pieces clicking. “The missing pastry chef from Mayfair. He didn’t just vanish. He made a deal.” “And his signature is on a contract we need. This way.” They moved westward, the path now sloping gently downwards. The air grew warmer, heavier, carrying the smell of baking bread—a wholesome smell, but here it was so intense it became cloying, suffocating. The amber light deepened towards gold. The gentle hum was replaced by a deeper, rhythmic thumping, like a giant heart. Or a kneading fist. The ground trembled with each thump. They rounded a bend and stopped. The world fell away into a vast, sunken valley. And in the valley, were the ovens. They were not structures of brick and mortar. They were great, pulsating mounds of earth, like giant risen loaves, their crusts split open by glowing fissures. From these fissures poured waves of heat and that magnificent, terrible smell. Around each oven-mound, figures moved—more of the glossy, bloated helbound, shuffling with trays of raw, pale dough that seemed to squirm in their hands. They fed the dough into the fissures with a reverence bordering on terror. *Thump.* The nearest oven-mound shuddered. From its peak, a geyser of steam erupted, carrying with it a sound that was unmistakably a sigh—a deep, weary, contented exhalation. *The ovens of sighing grain.* “Right,” Rory whispered, her knuckles white on the blade. “How do we get a signed contract out of a sentient bakery?” Above them, the warm amber sky began to darken in patches, like butter spreading on hot toast. A shadow passed over the valley. Not Nyx’s shadow. Something larger. Something with wings that smelled of caramelised sugar and regret. Nyx’s form dissolved into smoke, pulling close to Rory. “We don’t,” they breathed into the space where her ear had been. “It gets us first.”
created_at"2026-02-24T22:16:36.732Z" 2/24/2026, 10:16:36 PM
model"aion-labs/aion-2.0-20260223"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2488
moderation_latency(null)
generation_time83487
tokens_prompt5338
tokens_completion3811
native_tokens_prompt5053
native_tokens_completion3377
native_tokens_completion_images(null)
native_tokens_reasoning1148
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0094456
router(null)
provider_responses
0
endpoint_id"1e93b0bb-eb0f-49bc-8fda-947105413b86"
id"ec5fcfb5-e2b7-4e1d-8980-cab6b6e6054b"
is_byokfalse
latency158
model_permaslug"aion-labs/aion-2.0-20260223"
provider_name"AionLabs"
status200
api_type"completions"
id"gen-1771971396-xqjaeFMD3bpvVGv3xFEI"
upstream_id"ec5fcfb5-e2b7-4e1d-8980-cab6b6e6054b"
total_cost0.0094456
cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount2
adverbTags
0"fingerless hand gestured vaguely [vaguely]"
1"It turned back [back]"
dialogueSentences42
tagDensity0.5
leniency1
rawRatio0.095
effectiveRatio0.095
85.08% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1676
totalAiIsmAdverbs5
found
0
adverb"gently"
count3
1
adverb"slightly"
count1
2
adverb"really"
count1
highlights
0"gently"
1"slightly"
2"really"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
16.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1676
totalAiIsms28
found
0
word"silk"
count1
1
word"chilled"
count1
2
word"silence"
count2
3
word"vibrated"
count1
4
word"whisper"
count1
5
word"pulsed"
count3
6
word"warmth"
count2
7
word"rhythmic"
count3
8
word"shimmered"
count1
9
word"perfect"
count2
10
word"gleaming"
count1
11
word"scanning"
count1
12
word"stomach"
count1
13
word"structure"
count1
14
word"porcelain"
count1
15
word"crystalline"
count1
16
word"processed"
count1
17
word"profound"
count1
18
word"potential"
count1
19
word"encounter"
count1
20
word"trembled"
count1
highlights
0"silk"
1"chilled"
2"silence"
3"vibrated"
4"whisper"
5"pulsed"
6"warmth"
7"rhythmic"
8"shimmered"
9"perfect"
10"gleaming"
11"scanning"
12"stomach"
13"structure"
14"porcelain"
15"crystalline"
16"processed"
17"profound"
18"potential"
19"encounter"
20"trembled"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences143
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences143
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences164
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords7
totalWords1672
ratio0.004
matches
0"plink"
1"Thump."
2"The ovens of sighing grain."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1386
uniqueNames11
maxNameDensity1.15
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Covent1
Garden1
London1
Nyx13
Heartstone1
Pendant1
Rory16
Fae-Forged1
Blade1
Ahead1
Fae3
persons
0"Nyx"
1"Rory"
2"Blade"
places
0"Covent"
1"Garden"
2"London"
globalScore0.923
windowScore0.833
73.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences98
glossingSentenceCount3
matches
0"as if stepping on a world of buried biscuits"
1"looked like golden, flaky pastries"
2"dough that seemed to squirm in their hands"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.598
wordCount1672
matches
0"not with warning warmth, but with a slow, rhythmic beat"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences164
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs58
mean28.83
std22.42
cv0.778
sampleLengths
013
170
24
362
413
520
653
778
812
933
1040
114
1231
133
1418
1587
1634
1723
1818
1979
207
216
2242
2313
2424
2534
268
2785
2836
296
3034
3133
3230
3326
3432
3524
3650
376
3850
3917
409
4139
428
4330
4419
4523
4611
4756
486
496
97.90% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences143
matches
0"was stretched"
1"was absorbed"
2"was replaced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs228
matches(empty)
73.17% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount0
flaggedSentences4
totalSentences164
ratio0.024
matches
0"It was a sculpture of interlocking bones—long, curved ribs formed archways, spinal columns stacked into columns, skulls with grinning jaws served as hollow niches where glowing fungi grew."
1"The air grew warmer, heavier, carrying the smell of baking bread—a wholesome smell, but here it was so intense it became cloying, suffocating."
2"Around each oven-mound, figures moved—more of the glossy, bloated helbound, shuffling with trays of raw, pale dough that seemed to squirm in their hands."
3"From its peak, a geyser of steam erupted, carrying with it a sound that was unmistakably a sigh—a deep, weary, contented exhalation."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1398
adjectiveStacks0
stackExamples(empty)
adverbCount36
adverbRatio0.02575107296137339
lyAdverbCount10
lyAdverbRatio0.00715307582260372
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences164
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences164
mean10.2
std6.31
cv0.619
sampleLengths
013
119
226
325
41
53
615
720
818
99
1010
113
1217
133
143
155
1610
174
188
1919
204
2114
226
2329
2429
2512
2617
2711
283
292
304
3114
3222
334
348
3511
366
376
383
3918
408
417
4224
4312
442
4510
469
4715
4814
4911
47.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3353658536585366
totalSentences164
uniqueOpeners55
50.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences132
matches
0"Then not silence."
1"Just smooth, stretched skin where"
ratio0.015
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences132
matches
0"It was the sound of"
1"They were right."
2"It coated her tongue."
3"She touched the Heartstone Pendant"
4"It pulsed, not with warning"
5"It pulsed steadily, no stronger"
6"They took the left fork,"
7"It pressed in, offering everything"
8"They passed a tree whose"
9"Her stomach growled, a traitorous"
10"she muttered, more to herself"
11"It wasn’t a building, not"
12"It was a sculpture of"
13"It came from the liquid"
14"She drew the Fae blade."
15"She nodded to Nyx, and"
16"It was humanoid, or had"
17"It knelt by a smaller,"
18"Its skin was stretched taut"
19"It wore tattered remnants of"
ratio0.273
54.70% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount107
totalSentences132
matches
0"The world tore open with"
1"Rory stumbled forward, the cobblestones"
2"The air, once chilled with"
3"Nyx flowed through the tear"
4"A low, constant hum vibrated"
5"It was the sound of"
6"The sky above was a"
7"Rory breathed, her voice swallowed"
8"Nyx’s whisper came from everywhere"
9"They were right."
10"The air had a taste."
11"It coated her tongue."
12"She touched the Heartstone Pendant"
13"It pulsed, not with warning"
14"A lazy, contented heartbeat."
15"The leaves shimmered with a"
16"Nyx advised, their violet gaze"
17"Rory’s hand drifted to the"
18"The moonsilver was cold, a"
19"A anchor point."
ratio0.811
37.88% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences132
matches
0"Before them stretched a path"
ratio0.008
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount5
matches
0"The air, once chilled with London damp, now washed over her in a thick, warm wave that carried the scent of overripe fruit and burnt sugar."
1"It pressed in, offering everything and demanding nothing, which was its own kind of demand."
2"Its skin was stretched taut and glossy, like a sausage casing, over a form that bulged in strange, lumpy ways."
3"Around each oven-mound, figures moved—more of the glossy, bloated helbound, shuffling with trays of raw, pale dough that seemed to squirm in their hands."
4"From its peak, a geyser of steam erupted, carrying with it a sound that was unmistakably a sigh—a deep, weary, contented exhalation."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount7
matches
0"Nyx advised, their violet gaze scanning the impossible vineyard"
1"she muttered, more to herself than to Nyx"
2"Rory said, her voice flat"
3"Nyx whispered, their form blurring at the edges, becoming half-incorporeal"
4"It turned back, the invitation withdrawn"
5"Rory said, the pieces clicking"
6"Rory whispered, her knuckles white on the blade"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount9
fancyTags
0"Rory breathed (breathe)"
1"Nyx advised (advise)"
2"Nyx suggested (suggest)"
3"she muttered (mutter)"
4"Nyx murmured (murmur)"
5"Nyx whispered (whisper)"
6"Nyx stated (state)"
7"Rory whispered (whisper)"
8"they breathed (breathe)"
dialogueSentences42
tagDensity0.333
leniency0.667
rawRatio0.643
effectiveRatio0.429
79.9262%