@@.@@.@.@. .@..@..@@.
.@@.@@@@@. @@.@@.@.@@
@.@@....@. .@@.@@@@.@
@@.@...@@. @.@@...@@.
.@@@..@.@@ @@.@..@.@@
@..@.@@@.. 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. @@.@..@.@@
@..@.@@@.. .@@@.@@@.@
@.@@@..@.@ @..@@..@@.
@@..@.@@@. @.@.@.@.@@
.@.@@@..@@ @@@@@@@@..
@@@..@.@.. .......@..