,,,,,,::£# #£::,,,,,,
,:~:*£@# #@#&£*:~:,
,:~:*£@# #@#&£*:~:,
,:~:*£&@## ##@&£*:~:,
,:~:*£@# #@#&£*:~:,
,:~:**££&& THE SKYSCRAPER THAT MOVES &&££**:~:,
,,,,~:£& #&&£:~,,,,
,:~:*£@# TAINARON IS A BUILDING OWNED AND #@#&£*:~:,
,:~:*£££## OPERATED BY AMATA TEXNOLOGIYASI PLACED ##£££*:~:,
,,,:::~*&@ CLOSED TO THE HARBOR IN MALMÖ. IT'S @&*~:::,,,
,:~:*£@# ROUGHLY SIXTY FLOORS HIGH (REAL NUMBER #@#&£*:~:,
,:~:*£#@ UNKNOWN), DARK BLUE AND COMPLETELY @##&£*:~:,
,,,~:**£## RECTANGULAR. IT FEATURES NO SIGNS, ##£**:~,,,
,:~:*£@# LIGHTS, OR ORNAMENTS, APART FROM A #@#&£*:~:,
,,,,:~:*£& HELIPAD ON TOP. MOST FLOORS HAVE &£*:~:,,,,
,:~:*£@@ EXTERIOR WALLS COMPLETELY MADE OF GLASS. @@#&£*:~:,
,:~:*@## ##@#&*:~:,
,:~:*£#@## IN LATE EVENINGS, SHROUDED BY MALMö'S ##@#£*:~:,
,,,,,,,~*& SIGNATURE FOG ROLLING IN FROM THE SEA, &*~,,,,,,,
,:~:****&& THE BUILDING COMES TO LIFE: IT MOVES ON &&****:~:,
,:~:*£#@ A THOUSAND ROBOTIC LEGS TO ANOTHER @##&£*:~:,
,:~:*£@@ (SECRET) PART OF TOWN, OR PERHAPS OUT @@#&£*:~:,
,:~:*£#@## TO SEA. THIS SIGNALS A NEW AND MORE ##@#£*:~:,
,,,:::££ VISCIOUS PHASE OF THE TAINARON #&££:::,,,
,:~~~~~* ECOSYSTEM. #&*~~~~~:,
,,,,,,~:£& &£:~,,,,,,
,:~:*£@# THE GUESTS ARRIVING DURING THE EARLY #@#&£*:~:,
,:~:*£@# EVENING ARE TREATED TO FOOD AND DRINK, #@#&£*:~:,
,:~:*£@# LIVE MUSIC, BEATUTIFUL VIEWS, AND A #@#&£*:~:,
,:~:*£#@ COMFORTABLE BUT MAZE-LIKE INTERIOR @##&£*:~:,
,:~:*£#@ STRUCTURE (THE BUILDING FEATURES A @##&£*:~:,
,,,,,,~* MULTITUDE OF STAIRWELLS AND ELEVATORS, #&*~,,,,,,
,,,,,,::£# PLACED SEEMINGLY AT RANDOM, NONE GOING #£::,,,,,,
,:~:*£@# FURTHER THAN A FEW FLOORS). #@#&£*:~:,
,,,,,:::*& &*:::,,,,,
,,,:~*£&&& AS TIME GOES ON, THE LIGHTS SLOWLY DIM, &&&£*~:,,,
,,::::*&&& UNTIL THE AIR INSIDE HAS TAKEN ON THE &&&*::::,,
,,,:::~**& SAME QUALITY AS THE SURROUNDING MIST: &**~:::,,,
,:~:*£#@## BLUE-GRAY, SPRINKLED WITH THE SMALL RED ##@#£*:~:,
,,,,~:***& DOT'S BY DOOR LOCKS AND CONTROL PANELS. &***:~,,,,
,:~:*£@# IF YOU WOULD LOOK THROUGH THE WINDOWS #@#&£*:~:,
,:~:*£@# YOU WOULD SEE THE MIST ROLLING BY, AND #@#&£*:~:,
,,,,,::*£# PERHAPS THE OUTLINE OF SOME OTHER #£*::,,,,,
,:~::::* BUILDING, FAR BELOW. #&*::::~:,
,:~:*£@@ @@#&£*:~:,
,:~:*£&@## DURING THE NIGHT, AFTER TAINARON HAS ##@&£*:~:,
,:~:*£@# STARTED MOVING, THE LOWER FLOORS ARE #@#&£*:~:,
,:~:*£## SHUT OFF, PREVENTING ENTRY OR EXIT FOR ###&£*:~:,
,:~:*£@# THE GUESTS. FOOD IS NO LONGER SERVED, #@#&£*:~:,
,:~:*£@# BUT THE DRINKS BECOME MORE EXTRAVAGANT. #@#&£*:~:,
,:~~:::££# IT'S AT THIS POINT THAT THE SECOND SET #££:::~~:,
,:~:*£@# OF GUEST ARRIVES, VIA HELICOPTER - #@#&£*:~:,
,,,,~:*£ AMATA TEXNOLOGIYASI AND THEIR FRIENDS. #&£*:~,,,,
,:~:*£@# #@#&£*:~:,
,,,,,:~:£& ~~~~~ &£:~:,,,,,
,:~:*£&& #&&&£*:~:,
,,:::**& IN MY DREAM I AM INVITED AS A FRIEND OF #&&**:::,,
,:~:*£&@## ONE OF THE SERVERS, AND THUS SAFE. WE ##@&£*:~:,
,,::~*£& SIT IN ONE OF THE LARGE WINDOWS, #&&£*~::,,
,:~:*£#@## LOOKING THROUGH THE MIST FOR ANY ##@#£*:~:,
,:~:*£#@ LANDMARKS TO PIERCE THROUGH THE MIST. @##&£*:~:,
,:~:*£#@ SHE TELLS ME THAT APART FROM COMING AND @##&£*:~:,
,:~:*£@@ GOING FROM WORK, SHE'S NEVER SEEN THE @@#&£*:~:,
,:~:*£@# BUILDING FROM THE OUTSIDE. WE BOTH SIGH. #@#&£*:~:,
,:~:*£@# #@#&£*:~:,
,,,,:~*&&& THE NEXT DAY I AM INVITED TO THE PUBLIC &&&*~:,,,,
,:~:*£@# DEMONSTRATION OF THE EXOBUBBLE. #@#&£*:~:,
,,,,::::£# #£::::,,,,
,,,,,,~~*& &*~~,,,,,,
,:~:*£@# #@#&£*:~:,
,::*£@## ##@#&£*::,
,:~:*£@# #@#&£*:~:,