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