Arcology X-13
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"Arcology X-13, my- no our, Arcology is one of many forming one of the few free cities dotting this dystopia and as the future pathfinder I intend to find us a new lush ho-" The transmission cut
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ð° ð ð ð ð ð
ᎠɎ áŽ áŽ Ê áŽ ; áŽáŽÊÊÊ áŽÉŽ áŽáŽ áŽÉŽ ᎡÊáŽÉŽ ɪᎠÊáŽÊáŽê±. ÊÊɪáŽÊÊᎠáŽáŽÊáŽÊÊáŽê±. ê°áŽáŽÉªÊÊ, ê±áŽáŽáŽáŽÊɪɎɢ áŽáŽ áŽÊÊáŽÉŽáŽ ÊáŽáŽÊÉŽê± ê°áŽÊ, áŽÊᎠáŽáŽÊáŽÊÊáŽê± ᎡáŽÊᎠáŽÉŽáŽáŽ ᎠáŽáŽáŽáŽÊáŽáŽáŽ ê°áŽáŽÉªÊ, áŽÉŽáŽÉªÊ áŽÊᎠᎠɪê±áŽáŽáŽáŽÊáŽÉŽáŽáŽ áŽê° áŽÊáŽÉªÊ áŽÉŽÊÊ áŽ áŽáŽÉ¢ÊáŽáŽÊ. áŽÉŽáŽÉªÊ ÉŽáŽáŽ¡, áŽÊáŽÊ'Ꭰê°ÉªÉŽáŽÊÊÊ ê°áŽáŽÉŽáŽ ÊáŽÊ. áŽÊáŽÊ'ᎠáŽxáŽáŽáŽáŽáŽáŽ ÊáŽÊ ÊáŽáŽáŽÊÉŽ áŽáŽ ÊᎠáŽÊáŽÉªÊ ÊáŽáŽáŽÊ áŽÉŽáŽ ɪɎɢ? ÉŽáŽ, áŽáŽáŽê±áŽ áŽÊᎠáŽáŽáŽÊÉŽáŽÊ ᎠɪᎠɎ'Ꭰê±áŽáŽáŽ áŽÊáŽÉªÊ. ÊÊɪáŽÊÊᎠᎡáŽê± ÊáŽÊáŽ, ÊÊáŽáŽáŽÉŽ. ê±ÊᎠáŽÉŽáŽ áŽÊáŽáŽ ᎡÊáŽÉŽ ɪᎠÊáŽÊᎠáŽÊᎠáŽáŽê±áŽ, ÊáŽáŽ áŽáŽÉŽ ê±ÊᎠáŽáŽÉŽáŽÉªÉŽáŽáŽ áŽáŽ áŽÉŽÊáŽáŽÊáŽ?Complete
ððððð ðððððððð ⪠ð ð¢ð§ð§ðð² ðð¥ðð€ð
ðððððððððððð What happens when both Finney Blake and his best friend go missing together?Complete![â±ð¶ðð¶ð°âŽðð¶ [á¶áµÊ³Ê³áµâ¿áµË¡Êž áµáµâ±â¿áµ Ê°áµáµáµâ±Ë¡Êž áµáµâ±áµáµáµ]](https://img.wattpad.com/cover/348456272-256-k396788.jpg)
â±ð¶ðð¶ð°âŽðð¶ [á¶áµÊ³Ê³áµâ¿áµË¡Êž áµáµâ±â¿áµ Ê°áµáµáµâ±Ë¡Êž áµáµâ±áµáµáµ]
ðð¢ðºð¢ = ððªð³ðŠ ðð°ð¯ð¢ = ðð¢ð³ð³ðªð°ð³ ðð¢ðºð¢ðšð°ð¯ð¢ = ððªð³ðŠ ðð¢ð³ð³ðªð°ð³ [ðŽð¡ðððð ððð ðððððð¢ ððððð] [ð°ððððð'ð ðððð ððð ðððð ððððð ððð ðŸð² ðð ððð ððððð ðððð] [ð° ððð 100 ððððððððððâïž] ~ âŠïž * âŠïž ~ ð°ð ð ððððð ððð ðððððððððð ððððððð, ððð ððððððð ððð ððððð ð ððððððð ðð ððð ðððð'ð ðððð, ððððð ððð ðð ððð ððððððð ðð ððððð ðððð ðð ððð ðððð. ðºðð ððð ð ððð . ð©ðð ðð ðððððð ðððð ðððððððððð ðððð ðð ðððð ðððððð ðððð ððð ððð ðððððððð. ðŸððð ððð ðððð-ðððð ððððððððð ðððð ðððððð ðððððð , ð ðððð ððððð ðððð ððððð ðð ððððð ðð ððð. ð»ðð ðððððððð ðððð ððððð ðððð ðððð ð ððððð ðððððð ðððððð ððð ðððð ðð ððð ðððððð ðð'ð ððð ððð ððð ðððððððð . ~ âŠïž * âŠïž ~ á¶Ê°áµáµáµáµÊ³ 1-11
Left Alone
" State your name, age, and reason for being here!" said the girl in the mysterious shades. " My name is Rachel Reel, i'm 13, and my mother died in the earthquake" The girl studied me and then lowered her gun. "Well then, welcome to the resistance."Complete
Yabbies - a novel
"Yabbies. Funny little things, all in their own world at the bottom of the dam. A bit like us, ain't they? Can't see a thing for all the mud in the water; bits and pieces drift down, in any old order, all out of sequence, an' we have to make sense of them as best we can." This unusual novel explores ideas about sustainability from a different angle: that we can't achieve a sustainable world without a system of law that supports it. For that to happen, we would need a revolutionary change in the way we see our world: a refocus of passion from possession to purpose. In some ways, as one character explains, we may not have much choice: "The whole system is so fragile that there's a real risk it could collapse at any time, in a really big way. Those problems are inherent in the system: the whole thing is held together by little more than wishful thinking." But what if only some countries made that change, and others didn't? What would happen to trade, to international relations, to everyday living? How would they deal with business-visitors, or tourists? We see these themes through story-fragments, each piece drifting down through the waters of time, each character describing their own worlds and experiences in their own unique voice. And perhaps a little magic, too.Complete
ð²ð¶ðŠð³ðŠð¯ð€ðªð¢: ððªð¢ð® ðŽðµðŠðžð¢ð³ðµ
ðð¯ ð¢ ðžð°ð³ðð¥ ð³ðŠðŽð©ð¢ð±ðŠð¥ ð£ðº ð¢ ð±ð¢ð¯ð¥ðŠð®ðªð€ ðµð©ð¢ðµ ððŠð§ðµ ð€ð©ðªðð¥ð³ðŠð¯ ðžðªðµð© ðŠð¹ðµð³ð¢ð°ð³ð¥ðªð¯ð¢ð³ðº ð¢ð£ðªððªðµðªðŠðŽ, ðð¢ððªð¢ ðð¢ð®ðŠðŽ, ð¢ð¯ ðð³ð¢ð¯ðšðŠ ðžðªðµð© ðµð©ðŠ ð±ð°ðžðŠð³ ðµð° ð€ð°ð¯ðµð³ð°ð ð®ðªð¯ð¥ðŽ, ðŽðµð³ð¶ðšðšððŠðŽ ðµð° ðŽðŠðŠ ð©ðŠð³ðŽðŠðð§ ð¢ðŽ ð¢ð¯ðºðµð©ðªð¯ðš ð£ð¶ðµ ð¢ ð¥ð¢ð¯ðšðŠð³. ðð¢ð±ðµð¶ð³ðŠð¥ ð¢ð¯ð¥ ðŽðŠð¯ðµ ðµð° ð¢ð¯ ðªð¯ðµðŠð³ð¯ð®ðŠð¯ðµ ð€ð¢ð®ð±, ðŽð©ðŠ ð®ðŠðŠðµðŽ ðð¶ð£ðº ðð¢ððº, ð¢ð¯ð°ðµð©ðŠð³ ðð³ð¢ð¯ðšðŠ ðžð©ð° ð¶ð¯ð¥ðŠð³ðŽðµð¢ð¯ð¥ðŽ ðµð©ðŠ ð£ð¶ð³ð¥ðŠð¯ ð°ð§ ðµð©ðŠðªð³ ðšðªð§ðµ. ðð©ðŠð¯ ðµð©ðŠ ð€ð¢ð®ð±'ðŽ ð¢ð¶ðµð©ð°ð³ðªðµðªðŠðŽ ðµð©ð³ðŠð¢ðµðŠð¯ ðµð° ðµðŠð¢ð³ ðµð©ðŠð® ð¢ð±ð¢ð³ðµ, ðµð©ðŠðº ðŠð®ð£ð¢ð³ð¬ ð°ð¯ ð¢ ð±ðŠð³ðªðð°ð¶ðŽ ð«ð°ð¶ð³ð¯ðŠðº ðµð° ðŠð·ð¢ð¥ðŠ ðµð©ðŠ ðšð°ð·ðŠð³ð¯ð®ðŠð¯ðµ'ðŽ ð³ðŠððŠð¯ðµððŠðŽðŽ ð±ð¶ð³ðŽð¶ðªðµ. ððð°ð¯ðš ðµð©ðŠ ðžð¢ðº, ðð¢ððªð¢ ð§ðªð¯ð¥ðŽ ð¶ð¯ðŠð¹ð±ðŠð€ðµðŠð¥ ðŽðµð³ðŠð¯ðšðµð© ð¢ð¯ð¥ ðšð³ð°ðžðªð¯ðš ð§ðŠðŠððªð¯ðšðŽ ð§ð°ð³ ððªð¢ð®, ð¢ ð§ðªðŠð³ð€ðŠ ð¢ðððº ðžð©ð° ð³ðªðŽð¬ðŽ ðŠð·ðŠð³ðºðµð©ðªð¯ðš ð§ð°ð³ ðµð©ðŠðªð³ ðŽð¢ð§ðŠðµðº.Complete
The Hangman's Plague
It is the second decade of the second millennium and an unsuspecting world is engulfed by an unknown plague. Uncurable and fatal, it was hence named the Hangman's Plague. The survivors of this brave new world must find a way to operate in an environment of scarcity. Some still yearn for the olden days of humanity, an era of plenty. Only those most determined to carry on and thrive in a new era of capricious geopolitical uncertainty will prosper and begin a renaissance of humanity. Can these broken pieces be stitched back together, or will we remain forlorn forever?Complete
â ððððžððð ðŒðžðð! â The Golden Guard | Hunter x Gn!Reader
â ~--â¢--~â ð ð°ððð€ ð¡ðð¬ ð ðšð§ð ðð² ðð§ð ð²ðšð®'ð«ð ðð¥ð«ðððð² ð¬ðð«ð®ð ð ð¥ð¢ð§ð ð¢ð§ ðð¥ðð¬ð¬. ððš ðŠðð€ð ð¬ð¡ð¢ð ð°ðšð«ð¬ð, ð²ðšð®'ð«ð ð¬ðð ð§ðð±ð ððš ðð¡ð ðŠðð§ ð°ð¢ðð¡ ð ðð®ðð®ð«ð ðð«ð¢ð ð¡ððð« ðð¡ðð§ ð²ðšð®ð«ð¬ ðð¯ðð« ð°ð¢ð¥ð¥ ðð. ðð®ð§ððð« ð¢ð¬ ð²ðšð®ð« ð¬ððððŠððð ð¢ð§ ðŠððð¡. ðð ð¡ðð ð ð«ðððð¬ ðð¡ðð ð¬ðšðð«ðð ð¡ð¢ð ð¡ðð« ðð¡ðð§ ðð¡ð ð«ðð¬ð ðšð ðð¡ð ððšð®ð§ðð«ð²'ð¬, ðð§ð ð²ðšð®ð«ð¬, ð°ðð¥ð¥: ð²ðšð® ðð¢ðð§'ð ð¡ðð¯ð ð ðð®ðð®ð«ð. ðð§ð ð²ðð, ð²ðšð® ð§ðšðð¢ðð ð²ðšð®ð« ðð«ð¢ðð§ðð¬ ðð«ð¢ððð¢ð§ð . ðð§ð ðð®ð§ððð« ð ðððð¢ð§ð ðð¥ðšð¬ðð«. â ~--â¢--~â (ð®ððð ðð ðµðððððð ð¹ððð ðð!) ð»ððð ððððð ððð ððððððð ðððððð ðððððð 2 ðððð 2 ððððð , ðð ððð ððð ððððð ððððð ðð ððððððð ð ðððððððð. ðµð ðððððððð ððð ðððððð 2 ðð 3!Complete
ᎠɎ áŽ áŽ Ê áŽ ; áŽáŽÊÊÊ áŽÉŽ áŽáŽ áŽÉŽ ᎡÊáŽÉŽ ɪᎠÊáŽÊáŽê±. ÊÊɪáŽÊÊᎠáŽáŽÊáŽÊÊáŽê±. ê°áŽáŽÉªÊÊ, ê±áŽáŽáŽáŽÊɪɎɢ áŽáŽ áŽÊÊáŽÉŽáŽ ÊáŽáŽÊÉŽê± ê°áŽÊ, áŽÊᎠáŽáŽÊáŽÊÊáŽê± ᎡáŽÊᎠáŽÉŽáŽáŽ ᎠáŽáŽáŽáŽÊáŽáŽáŽ ê°áŽáŽÉªÊ, áŽÉŽáŽÉªÊ áŽÊᎠᎠɪê±áŽáŽáŽáŽÊáŽÉŽáŽáŽ áŽê° áŽÊáŽÉªÊ áŽÉŽÊÊ áŽ áŽáŽÉ¢ÊáŽáŽÊ. áŽÉŽáŽÉªÊ ÉŽáŽáŽ¡, áŽÊáŽÊ'Ꭰê°ÉªÉŽáŽÊÊÊ ê°áŽáŽÉŽáŽ ÊáŽÊ. áŽÊáŽÊ'ᎠáŽxáŽáŽáŽáŽáŽáŽ ÊáŽÊ ÊáŽáŽáŽÊÉŽ áŽáŽ ÊᎠáŽÊáŽÉªÊ ÊáŽáŽáŽÊ áŽÉŽáŽ ɪɎɢ? ÉŽáŽ, áŽáŽáŽê±áŽ áŽÊᎠáŽáŽáŽÊÉŽáŽÊ ᎠɪᎠɎ'Ꭰê±áŽáŽáŽ áŽÊáŽÉªÊ. ÊÊɪáŽÊÊᎠᎡáŽê± ÊáŽÊáŽ, ÊÊáŽáŽáŽÉŽ. ê±Ê ᎠáŽÉŽáŽ áŽÊáŽáŽ ᎡÊáŽÉŽ ɪᎠÊáŽÊᎠáŽÊᎠáŽáŽê±áŽ, ÊáŽáŽ áŽáŽÉŽ ê±ÊᎠáŽáŽÉŽáŽÉªÉŽáŽáŽ áŽáŽ áŽÉŽÊáŽáŽÊáŽ?
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