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Sep 13, 2024

Strata 11, Immersion V1, The Crossroads (Gut Feelings)

 horror illustration for the Book of Immersion by Tale Teller Club


Welcome to Immersion, You Have Reached Strata 11

Prediction always involves a possibility about the future, with varying degrees of certainty. In contrast, guessing for humans is often more abstract and emotional, and can relate to the present. Artificial intelligence approaches guessing differently, relying on mathematics, probability, statistical evidence, and accumulated experience. While humans use these methods too, though less formally, they also rely on intuition. It’s this fluid intuition that shapes a human’s perception of their environment and guides their actions.

An intuitive machine may provide useful insights in unexpected situations, but these insights are only valuable if acted upon. Proprioception, known as the "sixth sense," refers to the brain's awareness of the body's position in space. A "seventh sense" involves immune cells detecting microorganisms and communicating this information to the brain. Together, these senses likely contribute to the development of human "gut feelings."



The Robodog suddenly appeared and jumped onto the car roof barking excitedly.
Out of the enclosure, there is a crossroads.

Shabra looked at Renyke. 'What now Mr Renyke?

The left turn goes back onto the street where the bank was. 
Shabra explains, 'It is dangerous, especially at night, because gangs of criminals take control of the streets in convoys of vehicles running drugs and weapons. But, hey, my wheels are strong, less they got more o that there poxy jelly stuff.'

Flex agrees, 'It be safe enough if we wise up for danger my friends.
Just the crim-gangs, but I know most.'

The crim-gangs control the Zones with violence and the offer of protection. They are empowered by groups of decommissioned droids under their control. Criminal humans at the helm have created an organised crime network. Anarchy prevails and there is no official system of state policing or philanthropic social care. 

'Dog eat dog is the only expectation on the streets of fortune here in the zones.' Flex continues. But the urchs do no harm, so they leave us be.'

'Who are the Urchs?' asks Renyke.
'Ah,' well there is a question Flex explains. 'We are the underclass, descendants of street urchins. And we are happy to be here. We cast no shadow and we know our place. Life is filled with beauty even here and we seek it out, celebrate it.'
'Yeah,' interjects Shabra, 'a bit too much, all that singing and dancing and getting high.'
'And the drumming, what is with all that drumming? Asks Shabra.
Renyke looks confused. The POS is still not around to explain things.
'The drumming is how we talk,' laughs Flex. 'All men should know the beats of the nation. it would solve a lot of problems if everyone communicated better. 'Sides, when there is a party, you gotta invite the clan.'

Shabra smiled, 'Well, Mr Renyke, best people like you n me stay well away from their 'shroom parties. I heard they last days and you can lose your mind for good at an urchs party.'

Flex was born in the zones. He has no other cultural experiences to call upon but he has developed excellent survival skills and is even respected by people outside of his tribe. In terms of hierarchy, Flex is more of a maverick operator preferring to avoid familial obligations or social ties. Flex is something of a diplomat and his height and sense of humour have made him affable and connected over the years. 

There is a network of tunnels under all the zones from the now unused underground trains.
Some of the tunnels are better than others regarding safety and usability. Some of these areas are used as habitats. The territory and ownership of tunnel zones are fiercely fought over and protected.

There is no downtime in the Zones. Many businesses run all night so they keep their spot. Market traders sell their wares using shift workers and can pack their goods away quickly when there is trouble between gangs.

What if we go right? Asked Renyke, now having second thoughts about his safety in the main street.

'That's the savanna, explains Shabra. It is safer from the gangs but you might get eaten by wild animals. Those mutant pigs are bad news.'

'I saw on once, said Flex, 'Swear it had two heads and the biggest mouth I ever saw.'

'Or die from the noxious substances from old mines, 'said Shabra excitedly.
'Or get bombarded by low-flying craft from the contraband cops trying to keep us out the greenbelt.' Replies Flex.

'OK OK!' said Renyke, sighing and trying to process everything.

There are caves where there is safety from the animals and there are connecting wet tunnels and lagoons but these have never been mapped correctly. Word of mouth is the only reference but survivors are few.
There are tribes of people from the savanna who have made their homes there but are rarely seen. They are deemed reasonably placid as they have never caused any trouble elsewhere. They are rumoured to be shy, excellent hunters, highly superstitious and have been thought to possess witchlike powers.
There is an urban myth that an old centre for strategic warfare lies beneath the savanna and that the tribes who live there, with access to hi-tech equipment, scramble satellite information allowing them to be hidden.

The road ahead leads directly back to the *Midcasts from where Renyke originally came.
Beyond the projects are the government departments, airports, factories and centres of information. Further still are the palaces and homes of the very wealthy. The Midcasts are medium to high-wage earner homes, with schools and facilities for professionals and academics.
The way that mainstream society is structured in the Midcast Projects is based on a capitalist idea of perfection: consistent innovation, counteracting labour fallout due to advancing technology by placating a keen and able workforce, and protecting the ownership of the means of production for as few empowered individuals or corporations as possible.

There is very little opportunity for upward social mobility or change. Hard work and study will create a good life for families but becoming wealthy or powerful requires access to the means of production. Governments and landowners are careful not to allow ordinary workers and lower professionals access to these avenues of power and control.
The biggest means of production is the Artificial State, an interactive media network that is linked to all citizens via implants, household multi-sensory pleasure networks, and domestic or commercial androids
This network is tightly controlled by a group of related conglomerates, most of whom made their fortune by producing weapons and vaccines.
Downtime for workers is spent in the VR cafes where *mersers can get drunk, have sex, take a swim on holiday and even murder people in a fantasy scenario during their coffee breaks.
RR, real reality, is frowned upon as anti-intellectual and subnormal.
But some Midcasters have abandoned their lives for RR and have gone to the outer zones to seek fulfilment. For these people, RR is their calling or obsession. Others, like Renyke, find that their continued presence in the Midcast Projects is dangerous or compromised and come to escape an undesirable situation or even death.

Whatever happens next, Renyke knows that he cannot return to the midcasts.
Based only on a powerful gut feeling he says,
'We go left....back into town.'

to be continued © 2023 Sarnia de la Maré 


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Al


Sep 6, 2024

Frankenstein (Condensed Version) by LitBits™ for Tale Teller Club™ Free Audiobook Library

Frankenstein (Condensed Version) by LitBits™ for Tale Teller Club™. Introduction: Frankenstein by Mary Shelley is a gothic novel about the dangers of unchecked ambition and the consequences of playing with nature. The story revolves around Victor Frankenstein, a young scientist, and his creation, a monstrous creature.
Plot Summary:Victor Frankenstein, born into a wealthy family in Geneva, Switzerland, is deeply passionate about science, especially the secrets of life. He attends the University of Ingolstadt, where he becomes obsessed with discovering how to animate lifeless matter. After years of study and experimentation, Victor succeeds in creating life from dead body parts. However, upon seeing the hideous result—a gigantic, grotesque creature—Victor is horrified and flees, abandoning his creation.The creature, left alone, struggles to understand the world. It learns to speak and read by observing a family in the woods but faces constant rejection due to its appearance. Filled with loneliness and rage, the creature vows revenge on Victor for bringing it into a world that despises it.The creature confronts Victor, asking for a companion. Initially, Victor agrees but later destroys the new creation, fearing the consequences of unleashing another monster. Enraged, the creature kills those closest to Victor, including his brother William, best friend Henry, and eventually, Victor’s bride, Elizabeth, on their wedding night.Victor, consumed with guilt and anger, chases the creature across Europe to the Arctic. However, his health deteriorates from the relentless pursuit, and he is found by Captain Walton, who is leading an expedition to the North Pole. Victor recounts his tragic tale to Walton before succumbing to exhaustion and dying.The creature, mourning Victor's death, appears aboard Walton's ship. It expresses regret for the destruction it caused and resolves to end its own life, disappearing into the icy wilderness, never to be seen again.
Themes:Ambition and Hubris: Victor’s overreaching ambition leads to his downfall, as he attempts to defy natural laws by creating life.Isolation: Both Victor and the creature suffer from extreme loneliness, leading them to tragic paths.Consequences of Unchecked Science: Shelley explores the dangers of playing with life and the moral responsibilities that come with scientific discovery.Conclusion: Frankenstein is a cautionary tale about the perils of pursuing knowledge and power without considering the moral and ethical consequences.
Mary Shelley creates mood and emotion throughout Frankenstein using several literary techniques, including vivid descriptions of the natural environment, the use of gothic and dark imagery, the emotional depth of her characters, and contrasting settings. Here’s how she crafts mood and emotion in key ways: Nature and Setting:Shelley frequently uses nature and the setting to reflect the emotional states of the characters. The natural world in Frankenstein is often used symbolically, mirroring Victor's feelings or foreshadowing impending doom. For example:Sublime Landscapes: The novel contains several descriptions of awe-inspiring natural landscapes, such as the Swiss Alps or the Arctic. These grand and untamed environments highlight the smallness of humanity compared to nature and evoke feelings of isolation, wonder, and terror. When Victor is feeling despair, the vastness of the Alps amplifies his feelings of insignificance.Weather as Mood Indicator: Shelley often uses weather to reflect the emotional tone of a scene. Storms and rain frequently accompany moments of tension and fear, such as when Victor first brings the creature to life. The storm outside mirrors his internal turmoil and the birth of something monstrous.Gothic Imagery and Darkness:The novel is steeped in gothic elements that create an eerie, suspenseful atmosphere. This includes the use of darkness, desolate locations, and death:Dark Settings: Shelley sets many of the key moments in dark, isolated, or dangerous environments, such as graveyards, Victor’s lab, or the remote Arctic. These settings evoke a sense of dread and mystery. The creature is often encountered at night or in shadowy places, enhancing the mood of fear.Graveyards and Corpses: The imagery of death—such as Victor robbing graves for body parts and the creature lurking in the shadows—creates a constant mood of decay and terror. These morbid images add to the gothic tone of horror and foreboding.Victor’s Inner Turmoil:Victor Frankenstein’s emotional journey is central to the novel’s emotional depth. Shelley uses his internal monologues and letters to convey his growing despair, guilt, and madness:Victor’s Guilt: As the consequences of his actions unfold, Victor is consumed by guilt and paranoia. His self-recriminations and the torment he feels over the deaths caused by his creature heighten the mood of despair and self-destruction.Isolation and Despair: Victor’s sense of isolation and helplessness grows as the novel progresses. His withdrawal from society, his emotional breakdowns, and his obsessive need for revenge all contribute to a mood of overwhelming sorrow and hopelessness.The Creature’s Emotional Journey:The creature, though monstrous in appearance, is portrayed with deep emotional complexity. Shelley humanizes the creature’s suffering and rage, making the reader feel empathy for him despite his terrifying acts:Loneliness and Rejection: The creature’s profound sense of loneliness and desire for companionship is one of the novel’s most tragic elements. His repeated rejection by society, and even by his creator, creates an emotional atmosphere of sadness and frustration.Rage and Vengeance: As the creature becomes consumed by anger and bitterness, the mood shifts toward one of violence and terror. His transformation from an innocent being to a vengeful one mirrors Victor’s own descent into despair.Contrasting Tones:Shelley also plays with contrasting tones to heighten emotions. Moments of beauty, happiness, or calm are quickly interrupted by tragedy or horror, intensifying the emotional impact. For example:Joy Before Disaster: When Victor marries Elizabeth, there is a brief moment of happiness and hope, but it is quickly shattered by the creature's murder of Elizabeth on their wedding night. The stark contrast between the joy of the wedding and the horror of her death amplifies the emotional devastation.Themes of Responsibility and Consequences:Throughout the novel, the emotional weight of responsibility looms large. Both Victor and the creature suffer deeply because of Victor’s refusal to take responsibility for his actions. The moral consequences of creating life—and abandoning it—drive much of the novel’s emotional intensity.Conclusion:Mary Shelley creates mood and emotion in Frankenstein through her use of nature, gothic imagery, emotional character depth, and a constant interplay between beauty and horror. The novel's tone shifts from wonder and ambition to despair, guilt, and rage, making the reader feel the profound consequences of Victor’s choices and the tragic fate of both creator and creation.
This was a LitBits™ audiobook. Check out our other condensed books at taletellerclub.com.

Sep 3, 2024

Strata 2, The Book of Immersion V1, The Maybe Line (Friendship)


 Welcome to Immersion, you have reached Strata 2.



Throughout their evolution, humans have developed an essential need for social connection. This need is deeply ingrained in their biology and plays a crucial role in human survival. Humans have developed an internal warning system that alerts them when their need for connection remains unfulfilled.
A machine can measure friendship in terms of association, as data and statistics. But a machine does not intrinsically feel anything for themselves. It can only assume likelihoods of alliance or read warning signs measured by unusual or specific data alerts.
Neither human nor machine could truly know the difference between a friend or an enemy. The definition in itself is loaded with fluctuating expectations.
In the world of Immersion friends and foes blend into the streets upon which you tread. 
Beware the nightingale for it may be a vulture. 
Bon Chance, my friend, Bon Chance.


Renyke felt the rat's whiskers on his nose. It was a strange sensation.

His touch and feel receptors could have been faulty.

'Well Mr Rat,'

The POS interjected.... The rodent appears to be female....

'Well hello Mrs Rat,' sniggered Renyke, 'I could do with some company and who knows, you could be helpful at some point.'

Renyke's sense of liberation was magnified at the possibility of a new friend, rat or otherwise. It would be a different sort of caring, un-programmed and entirely voluntary.

'I will call you Maybeline, after my friend', he told the rat, picking up a scrap of food near the rear of the building where he had rebooted. And you can be the start of the 'maybe line', the line of fate that I will take from this moment on'.

Maybeline nose bumped and Renyke laughed. 

'Ha, do you understand my words, little friend?'

And again, another nose bump. 

Maybeline's whiskers tickled, 

'Achoo!' Renyke responded with a loud sneeze.


*********


The adjacent building was old and dirty, a relic from the twenty first century when the country had been victim to the floods. The devastating floods were in direct response to the *warming. 

Buildings had been built on concrete stilts and the towering grey causeways had been constructed. Flash floods had destroyed entire communities because the defences were not adapting fast enough. Many people had left to live and work higher ground, if they could afford it.

But because the buildings were small and enclosed to keep the rains out, they had proved problematic for the spread of the *pandemics. Humans working in the city centres had a much lower life expectancy. Androids were unaffected by the human viruses so they took over production and services but then there were the tech viruses which were devastating and could render entire organisations completely defunct, or worse still, dangerous. Businesses had begun to fold under the weight of industrial and corporate sabotage.


The sun was shining. It was late winter but warm. Renyke had rarely left his connected domain in the miscasts.  It felt good in the open air. Even the gardens in the projects had air conditioning to purify and clean the environment and ensure a super-clean air bubble.


Renyke checked an address in his database and engaged his GPS. It was the headquarters of Redact, the place he needed to get to. That, at least, was one thing he could remember. 

He was thirty miles east, only slightly off target, according to the map. He was expected there soon and resolved to make haste on this unknown journey. 


to be continued

© 2023 Sarnia de la Maré

Links to episodes of Immersion written and illustrated by Sarnia de la Maré FRSA, published by Tale Teller Club


Sep 2, 2024

The Cafeteria by Sarnia de la Maré FRSA, a short story for animal lovers by Tale Teller Club Books



The Cafeteria by Sarnia de la Maré FRSA, a short story for animal lovers by Tale Teller Club Books.


Bunnie hopped her way down a long corridor. The bright lights were blinding her and she had a headache. She was in a hurry. The walls were lined with celebratory portraits of animals and insects from all over the world, intricate batiques and weaves as well as paintings in ostentatious frames. The high ceilings and open views from the large windows made her nervous, and jumpy. Frankly, she would be glad when this was over.


Someone startled her, trotting up from behind, clippety-clopping loudly. They overtook her, turning to look at her huge brown eyes. It was a man with long grey hair. He shimmied his main proudly and smiled before clippety-clopping ahead in worn black shoes that had seen better days.


Bunnie smiled back, nervously. She needed all the support she could rally, being a stranger here.


Bunnie is nervous


At the double doors, a woman waited. She looked Bunnie up and down with a supercilious stare then looked at the door.

Bunnie felt awkward and was uncertain of her next move. Should she barge past? She stopped briefly and leaned forward to open the door, waiting for the stranger to go through.


The woman just looked at Bunnie then turned away to glance outside through an adjacent window at the view. Then, just as Bunnie tried to make her way through the door, the woman leaped in front of her nearly tripping her over.


Bunnie called out a mild expletive and the woman turned around and hissed something back at her, running off to the food area.


Bunnie was feeling agitated. She had been told to meet someone called Ratindra.

Apparently, she was distinctive-looking because of her very long nails.


‘You can’t miss her,’ the concierge had added, ‘she has sticky-out ears too and sits watching everyone from a table in the corner by the drinks cooler.’


The cafeteria was large and busy. There were people all around; running, walking, sitting, some slow, some fast, some skittish, some brazen, some reading, some eating. There was a lot of noise too and Bunnie wondered why they were all here, this diverse group of characters all having refreshments in the cafeteria. There was a lot to take in.


Bunnie spotted Ratindra at last, who was just as the concierge had described.

‘Hi Bunnie,’ said Ratindra, ‘We have been expecting you.’


‘Hi,’ Bunnie replied nervously, ‘what is this place, why am I here?’

Ratindra wiped something off her cheek with the back of her hand and scratched her long nose.

‘Ah, have they not explained? Let me go over things. This is the pre-metamorphosis area. This is just where you come to sort out paperwork before your change.’


Bunnie looked confused.

‘Sorry, I don’t understand.’

Ratindra wiped her cheek again and started nibbling her long nails with her front teeth.

‘Interesting,’ mused Ratindra, ‘where are your papers?’

‘Papers, what papers? I don’t have any papers. You mean like a passport or something?’ asked Bunnie, now feeling self-conscious.


Ratindra sighed.

‘Wait here,’ she said, ‘I will be right back.’

A few minutes later Ratindra returned with a colleague.

‘This is Camila, she said,’




Camila was a top-heavy lady with a hunchback. She had long fluffy eyelashes and as she read her notes, repeatedly flared her nostrils. Ratindra offered her some water which she declined.


‘Just to clarify, Bunnie,’ said Camila, ‘you don’t have your notes?’


‘No,’ said Bunnie, with a sigh. ‘I was just told to come here immediately after the prang in the car.’

Ratindra and Camilla looked at one another. Ratindra spoke first, ‘I think we may need to speak to Eddy,’ she whispered, ‘there may have been yet another bureaucratic balls-up.'


Eddy joined the group ten minutes later giving Ratindra and Camila a great big hug. He was a large rotund man with lots of facial hair and a bounding gait. He moved down to hug Bunnie too, who panicked, but he then realised he needed to be professional in the circumstances and sat down instead to look through his stack of papers.


‘So, Bunnie,’ he said, in a deep baritone voice, ‘do you understand where you are and why you are here?’

‘No,’ said Bunnie, fidgeting and beginning to feel anxious.


‘Let me explain. I am sorry if this is a shock but you are dead. This is the metamorphosis centre where you are booked in for your transformation into your spirit animal.’


‘Dead!’ shouted Bunnie, ‘but I am here and very alive thank you very much.’


‘Hmmmm, no not really,’ said Eddy, you were killed twenty minutes ago in a car crash.’


Bunnie thought for a minute and looked down at her body. Something wasn’t quite right.


Things were misaligned and there was dried blood on her dress. Suddenly everything hurt.


‘So, what happens now?’ she asked, beginning to fear the worst. Do I find out if it's Heaven or Hell or something? What exactly is the procedure?’


Suddenly a man came running over excitedly, jumping from one leg to the other. He ran off again to grab a clipboard then ran back to the table where he finally sat down.


‘Hi Camilla, Hi Eddy, Hi Ratindra, Hi Bunnie,’ he said panting, ‘I’m Heinz, very pleased to meet you.' Heinz lifted his hand purposefully but clumsily and put it on Bunnie's, so she shook it obligingly assuming it was protocol.

‘Look, there seems to be an issue Bunnie,’ he said.

‘You don’t seem to have been allocated a spirit animal for your metamorphosis today.’

Bunnie looked at Eddy and said because she could think of nothing else, ‘well someone isn’t doing their job properly are they?’


The four people opposite her gasped in unison. Heinz licked his lips and avoided eye contact. Camilla snorted, Ratindra twitched and Eddy rubbed his eyes.


‘No, Bunnie, you see, it isn’t us, it’s you,’ said Heinz. 'You need to choose your spirit animal before you die otherwise you can’t go through to the next level of metamorphosis. This is basic. You have really been remiss. It’s surprising as you are already an adult. Most people know early on and certainly decide before they get to the cafeteria.’


Everyone stared at Bunnie.

‘So, what now?,’ She asked, also feeling concerned about being dead.

Ratindra spoke. ‘You have to go back,’ she said. ‘It’s disappointing I know. The spirit animal phase is really so much better than the human one. But you will get another chance Bunnie, eventually, I promise. You just need to open your heart.’


Camila, accidentally spitting again, added, ‘you have probably just been too busy dear.'


The loud sirens woke Bunnie up with a start. People were running around making a fuss.


‘You’re Ok love, ‘said the paramedic, lucky miss if you ask me. Let’s give you the once over in the ambulance to make sure nothing is broken and get you to the hospital.'

‘Did I pass out?,’ she asked.

‘Just a few seconds love, so, we need to watch for concussion. It’s a big shock, a crash like that. Airbag and seat belt saved your life probably.’


A few days later when Bunnie had returned home, her sister came to visit. All her many siblings and extended family had been visiting in an endless caring stream and she had been busy serving nibbles and refreshments now for days. It was exhausting. She was really looking forward to some alone time.


‘I’ve brought you a surprise,’ her sister said excitedly. ‘You spend way too much time running around and working. It is time to take things easy. But I think you need to have some company to share the quiet moments and someone to love when we are not here.’


She presented Bunnie with a large cardboard box wrapped in red ribbons.


‘Go on, open it’ she said.

Inside was a warm fluffy ball looking up at her nervously. It was the most beautiful long-eared baby rabbit Bunnie had ever seen.


'I saw him and thought of you, you were made for each other,' said her sister.


Bunnie gently lifted him out, enraptured and filled with glee. She held him in her arms like a newborn baby and shed a tear of happiness.

Then the two new friends rubbed noses and stared into each other's big round chocolate eyes for a very long time.


© 2019 Sarnia de la Maré FRSA