,,----§§## ##§§----,,
,--*§§¤### ###¤§§*--,
,,,,,-**§¤ ¤§**-,,,,,
,,,,,,-*§¤ ¤§*-,,,,,,
,,,,--*§¤# #¤§*--,,,,
--*§§¤#### 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. #¤§§**--,,
,,,---*§¤# #¤§*---,,,
,--*§¤#### ####¤§*--,
,,,,--§§¤# #¤§§--,,,,
,,,,,-**§¤ ¤§**-,,,,,
,--*§§¤### ###¤§§*--,