--- W A X W E B --- { 03:25 / 1:25:00 } --- { Plant Life : Undergrowth } ---

Plant Life : Undergrowth

Hive-Maker wrote that he imagined this to be a place of dense vegetation, where the souls of the dead lived in the form of small floating lights.

	Suddenly, you have crashed through the canopy of the forest. Now you are in the glass greenhouse at night. The electric sockets hum. You can hear the cars go by outside. Infrared sensors strew their heat lines across the floor, a polygonal trap around the edges of the glass-walled forest meant to detect human intruders. If someone from the outside breaks through a door and walks through the beam of invisible red light, a small machine will wake, and cry invisibly to the trees of the captive forest. The trees will retract their leaves, the doors will shut, and a representative of nature (perhaps a pine) will make an attempt to contact the intruder, using non-vocal means. We, however, have entered through the roof, and can see all the leaves. We only need one. When we hit the ground, we will pluck it.

03:25

Hive-Maker and Ghosts:

Through the lens of a projector, we enter a film.

The year is 1914, and James Hive-Maker, a Spiritualist Cinematographer, has traveled to the Antarctic in order to gather images of the dead. The next year, he travels to the Battle of Ypres, where he finds them floating above clouds of poison gas.

Hive-Maker search is motivated by a belief that the Dead live near to us, illuminated by a moral decay similar to the glow of a radium watch. This light, and their Land, can be made photographically visible. By extension, Hive-Maker hypothesizes that these living lights can visit our world (and that in reverse, we can visit their world).