.--**&¤@@@ @@@¤&**--.
.--**&&&&¤ ¤&&&&**--.
.....-*&&@ @&&*-.....
.--**&¤@@# #@@¤&**--.
.--**&¤@## ##@¤&**--.
.--**&¤@## 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. ##@¤&**--.
.----***&@ @&***----.
.--**&¤@## ##@¤&**--.
.--**&¤@## ##@¤&**--.
.--**&@### ###@&**--.
.--****&&¤ ¤&&****--.