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.#.#.#.#.#    #                                     .#.#.#.##.
##.#.#.#.#              .LIZARDRY                   .#.#.#..#.
.#.#.#.#.# =           # ## ###  ################## .#.#.#.##.
##.#.#.#.# ##      THE ART OF C^NNECTING            .#.#.#..#.
.#.#.#.#.#        .    WITH THE OLD MIND            .#.#.#.##.
##.#.#.#.#                                          .#.#.#..#.
.#.#.#.#.#             MY MIND IS BEING SKEWED. MI  .#.#.#.##.
##.#.#.#.#  SKELETON IS STRINGY AND OLD AND ALIEN   .#.#.#..#.
.#.#.#.#.#             THE SITUATION IS LITERALLY   .#.#.#.##.
##.#.#.#.# PRESSED OUT THROUGH MY EYES, IT'S        .#.#.#..#.
.#.#.#.#.# ECHOING LIKE                             .#.#.#.##.
##.#.#.#.#             THE SUNSET OF THE ETERNAL    .#.#.#..#.
.#.#.#.#.# OCEAN                                    .#.#.#.##.
##.#.#.#.#         PERSISTENTLY AGAINST MY EMULSION .#.#.#..#.
.#.#.#.#.#                                          .#.#.#.##.
##.#.#.#.#    IT'S UNGRASPABLE TO ME, WHAT OTHER    .#.#.#..#.
.#.#.#.#.#   HUMANS ARE DOING AND ABSTRACTING,      .#.#.#.##.
##.#.#.#.#  AND ABOVE ALL ELSE, WHAT TIME THEY USE? .#.#.#..#.
.#.#.#.#.# HOW LONG A TIME HAS PASSED, FOR THEM?    .#.#.#.##.
##.#.#.#.#                                     .    .#.#.#..#.
.#.#.#.#.#  . ... .  ................   #######     .#.#.#.##.
##.#.#.#.#   CONTINUOUSLY I'M CROWDING THROUGH      .#.#.#..#.
.#.#.#.#.# . THE FOURTH WALL  ^OUTWARDS IS WHAT   . .#.#.#.##.
##.#.#.#.# .. I'M THINKING BUT IT'S WRONG.. A NEW   .#.#.#..#.
.#.#.#.#.# . . NARRATOR IS INTRODUCED, OCCASIONALLY .#.#.#.##.
##.#.#.#.# ^  ^ AWARE OF THE PREVIOUS ONE, DEEPER . .#.#.#..#.
.#.#.#.#.# ^   ^ DOWN IN THE DRAGONS THROAT.        .#.#.#.##.
##.#.#.#.#      ^                                   .#.#.#..#.
.#.#.#.#.#       ^                                  .#.#.#.##.
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