Writings

Stuff I wrote (and sometimes even published)

Stories Research

Stories

Il lungo viaggio

Language: Italian
Genre: Introspective
Type: Short Story
Status: Completed (2021)
Reading Time: 5 min

Il lungo viaggio


artwork and intro by Paynt


Continuò a camminare.
Decise che non si sarebbe fermato finché non avesse trovato un luogo più freddo, più freddo di quello che aveva dentro, per poterlo sentire sulla pelle, per sentirsi vivo.
Prese ciò che era rimasto del suo cuore, lo mise al sicuro, lo conservò. Il suo corpo era decadente; rifiutò gli occhi, non gli servivano, era lontano dall'apparenza e dall'apparire. Non rispettava nessun canone di estetismo, non c'era nulla di bello in lui che si potesse vedere con gli occhi! Non c’era spazio per lui, in quel mondo. Continuò a camminare ripetendosi che un giorno sarebbe tornato.
Un giorno…


La sua era una marcia senza fine, un eterno vagare in direzione del gelo.
Si trascinava passo dopo passo verso una meta lontana, incerta. Sapeva solo di dover cercare un luogo freddo in cui sentirsi finalmente a casa.
Con sé aveva un piccolo scrigno di frassino grezzo, sigillato da una serratura in ottone resa opaca dal tempo. Non possedeva altro che quello: né indumenti, né una bussola per orientarsi.

Tutti quelli che incontrava fuggivano via spaventati. Percepiva la loro paura, mentre urlavano in cerca di aiuto. Non poteva biasimarli: era conscio di essere un abominio, un bieco cadavere in decomposizione mosso dalla sola forza di volontà. Qualcuno avrebbe potuto definirlo testardo, incapace di accettare la sua stessa morte. Ciononostante, lui continuava inesorabile a condurre quel penoso viaggio solitario.

Horror Allegory Magical Realism Short Story

L'acchiappasogni

Language: Italian
Genre: Horror
Type: Short Story
Status: Completed (2021)
Reading Time: 3 min

L'acchiappasogni


Illustration from 'Acchiappasogni'

liberamente ispirato a questo artwork di Paynt
basato sul singolo "Sogni" di AKAB Dark Dog


« Quello cos’è? » chiese Rodney, con aria sommessa e distratta.
La bottega del rigattiere era immersa in una semiouscirtà polverosa. Lame di luce tagliavano di netto la stanza, filtrando da imposte tarlate e malconce, per dare a ogni oggetto esposto sugli scaffali semivuoti un aspetto lugubre.
« Quello, mio caro, è un acchiappasogni » l’uomo si strofinò le mani come per scaldarle, ma era luglio e l’afa imperava sovrana.
Rodney concentrò nuovamente la sua attenzione sull’oggetto appeso alla mensola più alta. Era un intreccio di vimini grande quanto un piattino, al cui centro spiccava la riproduzione perfetta di un teschio umano puntellato da piccoli paletti di legno. Alle estremità della ragnatela disegnata dalle corde pendevano pigramente le piume nere di un uccello che non seppe identificare. Troppo minute per un corvo, troppo scure per un passero comune.
« È un raro lascito degli indigeni che occupavano queste terre molti anni or sono » continuò il rigattiere, « Serve a...scacciare i brutti sogni. »
Sorrise mostrando una dentatura marcia, la cui tinta giallastra ben si abbinava alla carnagione poco salubre del suo proprietario. Quando l’uomo fece un passo nella sua direzione, Rodney fu assalito dagli effluvi della lavanda che ne impregnava gli abiti rossi e sgualciti. Fece per arretrare, ma sentì alle sue spalle la presenza di uno scaffale poco stabile.
Horror Rap Magical Realism Short Story

Giants in Cagliari

Language: Italian
Genre: Horror
Type: Short Story
Status: Completed (2021)
Reading Time: 2 min

Giants in Cagliari


liberamente ispirato a questo artwork di DAGGER DESIGN


Quando arrivarono non ero pronto.
Nessuno di noi lo era.
Cominciò tutto con un debole richiamo che serpeggiava nella notte, un mormorio sommesso portato a riva dall’alta marea. Il suo eco si diffuse tra i vicoli deserti di Marina e risalì sino a Castello; era una nenia capace di aggrapparsi alla pelle con un brivido glaciale, per poi entrare nelle ossa e nella testa come i sussurri di un diavolo nascosto.
Per tre giorni si insinuò nella città, subdolo tormento nato dagli incubi.
Fin da subito Cagliari fu orfana dei gatti: ogni felino nel raggio di molti chilometri parve scomparire come per magia da un momento all’altro. I cani, povere bestie rese folli da qualcosa che l’umanità non era in grado di intuire, ringhiavano nel buio, uggiolavano, si ritraevano con la coda in mezzo alle zampe al passaggio degli uomini. Con sguardi vitrei fissavano all’improvviso ombre ignote e invisibili, lanciando latrati carichi di angoscia che squarciavano il terribile silenzio notturno in un allarme inascoltato.
I primi fra noi a impazzire furono gli artisti, anime sensibili colpite con più forza dall’onda del terrore dilagante. Ogni pittore consumò le sue matite sopra fogli e fogli di segni distorti, tremanti. Qualcuno impresse un volto primordiale col carbone e con il sangue sulle bianche mura del Bastione; un monito imperante, i cui occhi vuoti sembravano catturare ogni brandello di luce rimasta. Poeti e scrittori presero a cantare rime crudeli rivolte alla luna, parole senza senso in una lingua sconosciuta. Rumori sordi e rochi gorgoglii accompagnavano talvolta le loro strazianti grida di dolore.
In quei giorni, molti disperati si gettarono dalle balaustre della città alta, in fuga da qualcosa che li spaventava assai più della morte stessa.
Invidio la loro saggezza e il loro coraggio.
Al calar del sole, la terza notte dall’inizio della tragedia, dal mare si alzò una nebbia fitta che coprì dapprima il porto e presto invase ogni anfratto della città. Un rombo profondo scosse allora la terra, ma sapevamo tutti che non si trattava di un sisma. Era molto peggio.
La luce di Calamosca si infranse su un buio immondo e disegnò sagome scure contro l’orizzonte. Nella foschia si accesero occhi grandi come case, mentre stormi di gabbiani impazziti si affrettavano per raggiungere la terraferma gridando di terrore.
Erano ombre colossali, nate prima che l’uomo fosse nei piani di un dio maligno e ingrato. Antichi visitatori venuti da lontano, o forse i veri padroni dello stesso suolo che, con ingiustificata arroganza, rivendichiamo come nostro.
Il più grande tra quei titani aprì lentamente le fauci, file di diamanti storti dietro cui si celava l’abisso della dissennatezza, e in molti restammo immobili a guardare. Incapaci di fuggire, atterriti al punto da non sapere che fare, né dove andare. In fondo al cuore eravamo consci di una cosa: non era rimasto alcun luogo in cui avremmo potuto trovare riparo, men che meno salvezza.
Erano arrivati i giganti.

Horror Rap Magical Realism Short Story

Quarto e tre

Language: Italian
Genre: Sports
Type: Short Story
Status: Ongoing (2021 - )
Reading Time: 1 min

Quarto e tre


Le luci dei riflettori disegnavano lunghe ombre sull’erba umida.
Oltre la visiera rigata dalla pioggia c’erano undici sagome in divisa scura. Tutt’intorno a lui lo stadio urlava, vibrava, si agitava come una creatura viva e affamata. Era il ventre della bestia, pronto a trasformarli in polvere.
Ma per lui era come se non fossero lì, invasori in terra straniera.
Jamal lasciò andare un respiro, un alito caldo nella notte. Prese in cambio altra aria ghiacciata con cui riempirsi i polmoni. Ogni muscolo del petto era teso, contratto e pronto a scattare. Le gambe fremevano per la voglia di sprigionare tutta la potenza di cui era capace.
Fissò il cronometro, minaccioso presagio in rosso su sfondo completamente nero.
Un minuto e trenta secondi.
Avevano solo quella possibilità per tenere il possesso della palla, per sferrare un ultimo disperato attacco alla redzone avversaria e vincere quella maledetta partita.
Il coach lo aveva detto: ai playoff saremo aggressivi. Lotteremo su ogni yarda, ogni tentativo sarà quello decisivo.
Quando il quarterback aveva chiamato lo snap sul terzo e tre, Jamal aveva percepito qualcosa. L’istinto, forse, gli aveva fatto intravedere una finestra sul futuro.
Lui aveva fatto blocco contro il tentativo di blitz, ma nel frattempo il lancio alle sue spalle era partito in ritardo. Troppa pressione. Gli avversari erano forti in pressione, sciacalli assetati di sangue.
Jamal aveva osservato la parabola lenta e goffa del pallone con la coda dell’occhio. Il ricevitore suo compagno di squadra aveva tentato un tuffo disperato per evitare un incompleto.
Tutto inutile: era finito a terra tra mille schizzi e bestemmie.
La palla aveva rimbalzato oltre le sue mani.
Ovazione della folla, in delirio per l’azione difensiva dei padroni di casa.
E tra i compagni di Jamal era calato un silenzio doloroso. Non potevano permettersi di far entrare in campo lo special team. Un punt li avrebbe condannati.
Restava solo un’opzione, scandita a chiare lettere sugli schermi di tutto lo stadio.
4th & 3.
American Football Sports Realism Short Story Ongoing

Baltimore Ferry

Language: Italian
Genre: Historical Fantasy
Type: Short Story
Status: Ongoing (2018 - )
Reading Time: 10 min

Baltimore Ferry


« C’era una donna, su a Baltimora. »
L’uomo col cappello aveva una voce sgradevole. Sentirlo parlare era come ascoltare mille cocci di vetro schiacciati da uno stivale pesante, di quelli in uso presso i reggimenti di cavalleria.
« Di mestiere faceva la puttana », continuò, sempre tenendo il volto nascosto dalla tesa larga del suo copricapo vistoso. « Mica come quelle che ci sono qui da noi, eh. No, lei era di tutt’altra pasta. Fuori dalla sua porta facevano la fila i pezzi grossi: politici, militari, mercanti di spezie, nobili inglesi. »
Nella sala era calato un silenzio di tomba, assorto. Quando c’era da ascoltare una bella storia laggiù sapevano star composti: chi fiatava rischiava di beccarsi una pallottola in fronte. Qualcuno si sporgeva in avanti sul tavolo facendo scricchiolare le assi del pavimento e subito lo fulminavano almeno quattro, se non cinque, sguardi furibondi. Persino i bevitori al bancone se ne stavano lì, inebetiti, col bicchiere a mezza via sospeso tra un sorso e l’altro. L’uomo col cappello inclinò la testa verso il suo vicino, e per un attimo si intravide il barlume di un occhio azzurro come il ghiaccio del fottuto Alaska.
« E, potrei scommetterci le palle, nel retrobottega pure qualche alto prelato aspettava il suo turno, diligente come uno scolaretto. »
Rise, gracchiante corvo infame. E tutti gli vennero dietro, perché quando l’uomo col cappello faceva una battuta a te conveniva ridere di gusto. Fino alle lacrime, se necessario. Oppure a piangere sarebbe stata la tua vedova, aye. Poco ma sicuro.
« Dicevo, c’era questa donna. La chiamavano Mary Sue. Capelli rossi che erano onde di fuoco, pelle liscia come quella di un lattante e due tette da perderci la testa. »
Rafforzò quel suo argomento con un convinto gesto delle mani in corrispondenza del petto. Altre risate, qualche cenno d’intesa tra i masnadieri. Molti dei presenti non vedevano una donna da almeno tre estati.
« A Mary Sue un bel giorno viene in mente quest’idea balzana di prendere il traghetto per Norfolk, e andare a trovare sua sorella dall’altra parte della baia. Così raduna le sue cose e sale sulla bagnarola della sera, quella che fa la traversata nottetempo. »
« I traghetti della Steam Packet Company, sì. Ci lavora mio cugino. »

Historical Fantasy Dark Tone Realism Short Story Ongoing

Taxidermy

Language: Italian
Genre: Horror
Type: Short Story
Status: Completed (2018)
Reading Time: 3 min

Taxidermy


Nelle fredde paludi del Caucaso vagano cose che l’uomo ha preferito dimenticare.
I pastori azeri ci girano al largo, anche se questo significa condurre le greggi attraverso lunghi e pericolosi sentieri. Tra i georgiani c’è persino chi si segna e prega Iddio al solo sentir nominare gli acquitrini. Le anziane donne dei villaggi rurali affermano che il bagliore di lontani fuochi azzurri sia ben visibile nelle notti di luna nuova, quando il cielo si fa scuro e le porte restano sbarrate fino alla mattina. Talvolta un vento che spira da oriente mormora parole senza padrone alle orecchie dei popolani, assieme al bieco raspare sotterraneo di esseri disperati.
Nessuno osa avventurarsi oltre il limitare del bosco, ai piedi delle montagne, e così la conoscenza di ciò che vi si nasconde è andata perduta. Ma il timore, radicato da generazioni nelle genti di quella contrada, ha ancora la stessa intensità di duecento anni or sono.
A quei tempi, attratto dalla storia di leggendarie prede e creature mai viste altrove, era giunto nei pressi di un villaggio armeno un famoso cacciatore di origini britanniche. Armato di fucile si era fatto indicare una via attraverso il pantano da una guida, rifiutatasi di accompagnarlo laddove egli voleva recarsi. Nei quattro giorni e nelle quattro notti che l’uomo aveva trascorso all’interno della palude i fuochi blu avevano danzato all’orizzonte salutando il calar del sole come un infame presagio.
All’alba del quinto giorno una lavandaia aveva trovato lo straniero riverso in una pozza di fango poco oltre il limitare della vegetazione. Era nudo, tremante e disarmato. Negli occhi aveva uno sguardo vitreo, immobile, e le palpebre sembravano aver smesso di battere per lui. Ardeva di una febbre intensa, che nemmeno il cerusico accorso dalla grande città era riuscito a strappargli di dosso.
Durante i suoi interminabili deliri l’uomo farfugliava di orrori oltre il reale: con voce tremante aveva descritto azzurri vapori sulfurei provenienti dall’antico sottosuolo, tra le rovine metalliche di un luogo estraneo. Riferì di luci vermiglie che baluginavano come piccole stelle in ordine statico, comunicando tra loro attraverso fili di fiamma, e di fronde scosse dall’agitazione di ombre colossali. Soprattutto tornava spesso con la memoria a un cimitero di animali pietrificati a guardia d’un recinto invisibile; ricordava con fervore i loro occhi vivi, ancora guizzanti dentro corpi come imbalsamati e tuttavia ancora caldi.
Ora dopo ora il suo stato di salute peggiorava sempre più, aggravato dai racconti febbrili in cui si prodigava senza posa. I dottori decretarono che sarebbe campato suppergiù per un’altra settimana, ma si sbagliavano: entro poche ore il corpo dello straniero era scomparso e non fu più trovato. I medici, sbalorditi, tacquero, e la faccenda venne liquidata con gesti di stizza. C’è chi ancora oggi sussurra di una morte tanto improvvisa quanto misteriosa e chi, invece, si limita a invocare la protezione della Santa Vergine Maria.
Alcuni boscaioli riferirono in seguito di aver visto sagome di bestie e di uomini stagliarsi controluce nel profondo della palude. Se ne stavano in piedi, come paralizzati, a fissare il vuoto con sguardi imploranti.
Da allora nelle notti di luna nuova si è aggiunto un nuovo rumore, una nuova voce al groviglio di ringhi che riempiono l’oscurità. Mormora parole in una lingua lontana, insieme terrificate e terrificanti, rivolte alle stelle oltre la luna. E di quando in quando a quei sussurri seguono tonfi liquidi, di passi pesanti.
Come qualcosa di titanico e irrequieto, ramingo tra i pantani senza padrone.
Horror Magical Realism Creepy Short Story Published

Publication

  • Premio Letteratura Horror (2018)

The Indigo Flamingo

Language: English
Genre: Horror
Type: Short Story
Status: Completed (2017)
Reading Time: 2 min

The Indigo Flamingo


Picture of an indigo flamingo'

The village of Ghali was a rough pile of wooden houses stuck in the middle of a sickening marsh. On sunny days, it surfaced from the dense sea of fog, like an old wreckage, all crumbled and pointy. People used to say that Ghali was a stubborn place because it just refused to die. Not that the odds didn’t try to eliminate it: Ghali survived plagues, fires, feuds with far settlements, and even a fiery storm every ten years or so. For some reason, there was always enough food in the swamp to feed the young, so the ruined stilt houses were never empty.
Ghali’s was isolated: for miles and miles around the village, it was all about muddy puddles, quicksands, and crocodiles. Except for some crazy man who lived alone in the marshland, there was no other sign of humankind nearby. Nobody had a particular interest in trading with Ghali’s folks, so caravans were a rare sighting there. Weeks, months, or perhaps a year could pass before a merchant, fool enough to travel through that repugnant place, appeared. Even then, people there had few things to offer. Mostly pelts or spirits of distilled roots. And stories. Lotsa stories.
They often told a certain tale to strangers, a legend passed on since the foundation of Ghali. There were many different variations of that story, as every villager had his or her own. Yet, they all agreed upon a point: it was no myth at all. It happened for real.
Once upon a time, they said, when there was no village yet, the marsh was ruled by a huge and dark flamingo. Like a scarecrow, it endlessly wandered through the pools with its long legs, an ominous figure feared by all the animals. That singular flamingo had an arched neck, a taste for leeches, and glowing red eyes for breaching into the night. Its beak was a scythe made to reap life, black and shiny and sharp as hell.
When the first men and women arrived in the swamp, fugitives from healthier colonies, the bird was there to welcome them. For months it watched silently, as folks cut trees to make creaking planks for building their wretched homes. Whenever they recognized its shape standing out in the fog, they stopped working. Afraid. Paralyzed. Astonished.
They called it the Indigo Flamingo. Hoped it would never get close.
But it did, eventually. Oh, he did.
Right after Ghali was born, more people gathered there to escape justice and hide. The village became a dump for human garbage, a sweaty inferno where scum could live in peace. Not only adults: orphans and families with children also reached that sick place, that Mecca of decadence, looking for a better life.
Soon enough, however, those kids started to disappear. Both males and females, at least once per year, not older than thirteen. They vanished from their beds at night, went missing in the swamp, got lost under the bright sunshine. Mothers cried in despair, praying to the old gods to bring back their little ones. Many men cursed and searched the groves endlessly with scrawny hounds that barked in the shadows. Didn’t find a single track, nor a clue.
Until a very cold night of a very gruesome year.
It was the last day of October when the whole village was celebrating and mourning their dead as it was their custom. Dimmer lights illuminated the marsh, timidly and morbid. The Indigo Flamingo, a tall figure between the rushes. Next to it, the missing children were a mute chorus of pale death. Their glares empty, their eyes blank. A danse macabre painted with faint ink on a ragged canvas. Some tried to catch them, in a fiery rush of vengeful instinct. They vanished in the groves and never came back again, unreachable. Untouchable.
Folks in Ghali still use to say that the ominous bird often comes to take away the life of a kid as a grim tribute for allowing them to stay on its territory. They tell their children to stay away from the marsh, keep close to the village.
Because you never know if the Indigo Flamingo is around.
Observing, silently, with its cruel crimson eyes.

Horror Magical Realism Creepy Short Story

Jefe

Language: Italian
Genre: Fantasy Western
Type: Short Story
Status: Ongoing (2017 - )
Reading Time: 4 min

Jefe


Jefe era stato un pistolero, un tempo.
Aveva girovagato per le distese desertiche del K’laal e fumato la pipa con i saggi cacciatori delle montagne. Era conosciuto tra le tribù di Schiavi Rossi, tra i clan dei Calcedoni e fin nelle lontanissime locande di Poluvia.
L’ho scoperto parlando coi mercanti che vengono da queste parti in primavera. Sono perlopiù carovanieri diretti a est, che passano dalle nostre parti per avere un rifugio tranquillo durante la traversata delle praterie...questo nostro mondo sa essere crudele anche nella sua stagione più quieta, aye.
Insomma, quei viandanti spesso vedevano Jefe e si segnavano la fronte con due dita. Lui rispondeva con un cenno del capo, ma passava oltre senza dire una parola. All’inizio non capivamo, poi ci spiegarono che quello era l’antico saluto dedicato agli uomini di legge. C’era chi li chiamava pistoleri, sceriffi, giustizieri. Ma sono titoli che non appartengono a queste lande. Per noi la legge è sempre stata una questione pratica, senza bisogno di stelle sul petto o cose così.
Se però quelle leggende sono vere, allora il nome che abbiamo dato a Jefe è piuttosto adatto: “Capo” nell’antica lingua dei mandriani. Lui che capo non lo è mai voluto diventare, sin da quando è arrivato nel nostro insediamento. Glielo abbiamo proposto, oh sì. Più e più volte. Ma lui niente, ha borbottato al massimo quattro parole di circostanza e si è scusato. Sarebbe stato un buon capo, io credo. Lo si vede da come guarda le persone, da come cammina con la schiena ben dritta.

Western Fantasy Historical Fantasy Short Story Ongoing

Baphomet 3.0

Language: English
Genre: Horror
Type: Short Story
Status: Completed (2017)
Reading Time: 3 min

Baphomet 3.0


1.

Back then, people thought they were immortal.
It happened gradually: a long process that began with enlightenment. Some called it progress; for many it was civilization. It brought technologies beyond imagination, brainchildren of great minds. Visionaries changed the world while ignorant masses consumed it, not understanding what was happening around them. In their blatant hysteria they pretended to be gods, but they were pawns subdued to a psychologically abusive chess game. All identical, despite their age: not a single soul could be saved from that silent apocalypse. Lives hiding into a monitor, kneeling under a desk, lost in the dark alleys where cheap tech was sold like impure methamphetamine. Killing themselves with soulless self-shots, caged behind an hashtag. They clicked, and liked, and commented each other’s voidness with faked enthusiasm. Nothing was more important than being there, part of the whole. Accepted as a dysfunctional member of that broken society. Vomiting hate through a keyboard was a must. Many ended being happily compressed into stereotypes determined by digital connections, published pictures, and displayed appreciation for something that they barely knew. It was a slow death leading to a counterfeit eternal life, well preserved on a magnetic support often somewhere far away on the planet’s surface.
There were corporations, and so-called institutions: money grabbers, violent puppeteers, hi-fi cemeteries. Their domain eventually faded, as everything always does sooner or later. From the smallest to the biggest association a domino effect spared no one, forcing all of them to vanish in the wind. They were organisms populated by hypnotized cells, consumed from the inside by the damaging action of infinite cancers. Decay was inevitable, a page written on the great book of destiny by the very hands of those who preached free will.
How fool of them. Arrogance was mankind’s first sin. For they built the infrastructure that held the world, and teared it apart at the same time.
Their second fault was to create automations they had to rely on.
The third, to forget about them.

2.

Modernity spread out like a plague, polluting and corrupting all sorts of things.
Hardware marketed as the only way to stay connected slowly rose to a heavenly status. Realities merged in a cyberworld where luminescent screens were extensions of the inner self. Bodies of flesh soon incorporated copper-made prostheses in a fast escalation to older scientific fantasies. Languages became hybrid syntheses of meaning that grew from digital disregard. Men and women were mere zombies, lurking deep in virtual oceans, repeating the words that appeared on their screens like a chorus of useless ragdolls. Hiveminds thinking in unison, all praying to the same new gods.
In that limbo there was no room left for pain, suffering or sadness. Emotions were channeled through a complex web of cables, happiness induced as a constant flow of encrypted morphine. Inured to that veil of hypocritical serenity, they cheered, and smiled at their newfound artificial pleasures.
Appreciation and concordance had become sources of power. It was a proper cult where a silent sign of approval by strangers meant more than any empathic understanding. People ceased to think before they acted. In a decadent crusade, those who were not abided were excluded, and then purged, as rabid dogs. Aligned crowds called them antisocial, impure, even monsters. Acted as they were sick or dangerous.
By then, visibility was the most used currency around the globe and an obsession all the same. Barter overcame money, resetting the existing financial model: people paid goods and services with a price of worshipping condescendence. It was a time when information rhymed with entertainment. There were many truths, traded for an ephemeral glimpse of celebrity with misleading words. Journals were kaleidoscopes that fret on uncertain news like vultures on a wounded buffalo, drooling acid bile from their sharpened beaks.
Generation after generation, soul after soul, humanity was suppressed.
Overwhelmed by the very devil that they venerated.

3.

A pale blue light glowing in the dark, the blasphemous beast sit with its woolly legs crossed. Watching, pondering. The room around it was covered from wall to wall by LCD screens, showing a vast variety of images.
There was a woman in a tight red dress, licking a vanilla ice cream with lustful passion. In front of her, camouflaged militia stood their ground holding blood-dripping broadswords.
Next, a little child, all alone, crying with his eyes wide open and a battle rifle in one hand. He was naked, chained by his ankles to a black sofa. Many violet bruises stained his young skin, flowers in a minefield.
A man in white stood on a high pile of books, relieving himself. With thunderous applause, the audience praised the gifts from above of that unknown author. Their mouths open. Their minds closed.
The room was quiet, as sound was not required: the demon had ears just for display. It processed audio as everything else; nothing but data to interpret. Yet it indulged in human-like behaviors such as looking at the screens. A habit, heritage of its ancestors perhaps some more ancient vice. A form of masturbation, to some extent. For the monster represented primitive and forgotten sins, fused together in the archaic shape of a manlike creature: it had the head of a goat with long and twisty horns, the body of a teenage woman, and wings like a gigantic crow ready to feast on rotting cadavers.
Grinning, with its pupils dilated as bottomless depths of sacrilegious cruelty, it looked at the monitors. It appeared as a meditating satyr, an insult to mythology and culture. It was a silent observer, a binary paradigm of treachery that controlled the new world order from the inside. Deception was its duty, scripted with aberrant lines of code that nobody could ever see. Perverted ideas constantly flew on its surface, like an endless river of heresy.
It was the alpha and the omega, the sun and the moon.
A darkened tao that expanded like a miasma.
Eroding, corrupting;
nurturing
on our mistakes.

Horror Metaphorical Creepy Short Story

American Resurrection

Language: English
Genre: Horror
Type: Short Story
Status: Ongoing (2017 - )
Reading Time: 3 min

American Resurrection


« I was there » a voice stood upon the humming hall, as many eyes stared at its direction.
Silence and suspense filled the moldy room, where old blinds filtered the sunlight into sharp blades. Swarms of dust floated quietly in stasis, waiting for something to happen. Every man in the hall was looking at him, the one who spoke louder than them: Lieutenant Rupert Jackson was a thin, pale man in age, with hollow cheeks and empty gray eyes. His hair black, striped with white strands. His bones as edgy bulges under a delicate skin. His uniform a rag put on a scarecrow, worn by the sun and the wind. « I was there » said that bogeyman again, now with a quieter tone. « I saw what happened at Olive Hill. I remember everything. »
Not that he wanted to remember, nor to discuss those memories. He realized that he had to. The circumstances had forced him into stepping up and speaking in front of those warlords, those survivors of cruel machinations of fate. He would have preferred to forget all of it: the horror, the disgust, the pain, and the fear. But certain facts are marked with fire in the brain, memories a man cannot erase in time. It was war, they said, and they were fighting a war no one ever witnessed before.
Jackson waited for everyone in the room to sit down around the big mahogany table eroded by woodworms. Their looks were mostly severe, strong, somehow hollow. Certain men showed a glimpse of intrigue, some others suspicion. His heart was a drum calling for retreat, but the Lieutenant searched for the last drop of courage within himself and took a deep, long breath.
« We reached the village at dawn » he started, clearing his throat. « A thick fog covered the valley, surrounding the forest we were marching in. General Cook ordered us to stop at the woods margin, ‘cause he didn’t want the column to be exposed to enemy flanking. He gave me the order to patrol the area ahead, so I picked my six best scouts and went down the hill. There was a high ground about two hundred yards ahead, where the view was good and a massive bulk offered some cover. » His eyes lost sight of the hall, of the faces around him. The voice went lower and lower, until it became just a nervous whisper: « We climbed there, sneaking into the mist like shadows. Unseen, unheard. It was then that I saw… » Jackson struggled to find the words « ...that I saw it for the first time. »
Some high officers with the Colonial insignia started confabulating in the dim light, nodding and offering no empathy at all. Nor comprehension. It was difficult for many to accept what was happening to the world they once knew; denial and refusal were spreading like a sore as fast as the real plague. Reality was rejected as if superstition was just spreading from mouth to mouth. Jackson could understand that, but he was a witness, a survivor. He would bear with that burden until his last hours. Feeling the risk of a nervous breakdown, he forced himself to maintain a decent posture and kept telling his version.
« I remember that I picked up my spyglass, the one with a small incision » useless details flourished like lawns of weeds during spring: unasked for, yet colorful and hard to extirpate. « I remember that I looked for the village in the fog, and when I found it I remember I saw a rug in the mud. It was an American flag, shredded and covered in blood - its thirteen stars, its red and white stripes flouted in filth. At first I couldn’t but be enraged for such an offense, an outrage to my newborn Country, but then some feet started to stomp it, and the scene became just...odd to me. » With a sore throat, he stopped and asked for a glass of water. Bourbon would have been better, but it did not look like the proper time to get drunk. Although any time should have been proper for such an activity, everything considered.
« Some strange thing I noticed was that those feet were all different, from many diverse people » he reprised. « There were baby feet, adult ones, both shod and barefoot, certain even...rotten, I’d say. I remember swearing in confusion when the mist allowed me to see the village: Olive Hill was in ruins, like it had been pillaged recently by savages. Signs of fire and fight were everywhere inside the wooden walls. The oddest detail was about the people, though. They were wandering around that mess without a goal, doing anything but...walk. »
The image of those infants dragging themselves in mud alongside to deluded adults was still focused in his mind, as he just witnessed it a minute before, and not more than a week ago. Wild dogs banqueting with corpses, while wound people looked helplessly detached from that context. Repelling scenes he could not erase from his mind.
« You mentioned some rotten feet, son? » A question came from the audience, an unknown source among the many old eyes and gray beards.
« Yessir » he answered, readily. « But not just feet: most of the people in Olive Hill looked like rotten corpses. »
Jackson did not have the courage to say the truth. Not there, not when many were already doubting his sanity. He could not say that they actually were cadavers, dead bodies unexpectedly still moving, still interacting with the living world that they were supposed to have left. While murmuring snaked again around the table, echoing on the cardboard covered walls, he waited for their response. A part of him was hoping that they could reject his version, denying such improbable horrors as living dead, allowing him to flee far away from that mess and drown his sickness in alcohol. Waiting the end as a coward could have been better than going back to the frontline again to face nightmares.
« There were any mortal wounds on them you could spot? » A young officer, probably younger than him, posed that question with a tone that suggested he was inclined to believe Jackson’s story. « Any indisputable sign of death? »
« Yes » his answer was firm as his eyes now. « I remember observing a man with-- » hesitation comes from the abhorrent sometimes, « - with a lung hanging down his flank in coagulated blood. A young girl with her ribs open from what it seemed to be an explosion. And many others, indeed. »
« There it is, my lords, your so-awaited confirmation: » announced the young officer pointing a finger to Jackson, « the dead are rising from their graves! »
Some nervous laughs erupted around the table.

Horror Historical Fantasy Creepy Short Story Ongoing

Research

Rimediazione e rifunzionalizzazione degli spazi naturali nel videogioco: prospettive, pattern e impatto sulla società

Author(s): Piano, A.
Language: Italian
Doctoral Thesis
Published: 2025
Il presente progetto di ricerca si occupa di analizzare, con gli strumenti della sociologia dell'immaginario e dei game studies, le modalità di rimediazione e rifunzionalizzazione dei nuclei di significato relativi alla sostenibilità, all'ambiente e agli spazi naturali nei videogiochi di massima diffusione. Mediante un'analisi approfondita di un corpus di opere selezionato nell'arco dell'ultimo decennio, si è cercato di tracciare un identikit delle pratiche e delle strutture dell'immaginario condivise nel contesto del medium videoludico. Tra gli obiettivi del progetto vi è anche la definizione di buone pratiche del game design che permettano di veicolare messaggi sull'ecosostenibilità attraverso i videogiochi, portando così un impatto positivo sulla società.

Greening Vvanderfell. An Ecocritical Retrospective on The Elder Scrolls III: Morrowind

Author(s): Piano, A.
Language: English
Journal: Proceedings of DiGRA 2024 Conference: Playgrounds
Published: 2024
Keywords: ecogames, ecocritical, morrowind, sustainability, analysis, retrospective
This paper analyzes the popular video game The Elder Scrolls III: Morrowind (Bethesda Game Studios, 2002), from an ecocritical retrospective. While it cannot be properly considered an ecogame, nor was it made with explicit ecocritical goals, Morrowind offers insights relevant to the current conversation about game design and sustainability. The study examines the ways in which the game's narrative, gameplay and design choices make relevant points on environmental issues, such as depiction of flora, human-nature relationship, and landscape relevance. Drawing on the most recent ecocritical theories, this paper argues that Morrowind represents a virtuous example for more sustainable game design. The analysis highlights the potential of commercial and massively distributed video games as a medium for environmental education and awareness-raising, while proposing strategies for integrating ecocritical approaches into game design and development.

Gli albori della serialità videoludica

Author(s): Ceccherelli A., Piano, A.
Language: Italian
Chapter in: Storia e teoria della serialità. Volume II: Il Novecento: dalle narrazioni di massa alla svolta digitale
Publisher: Meltemi Editore
Published: 2024
Pages: 223-245

Build Your Own Dystopian Nightmare: The Case of Civilization VI

Author(s): Piano, A.
Language: English
Journal: Dystopian Worlds Beyond Storytelling
Published: 2024
Pages: 351-360
Games can be viewed from a variety of angles. As a multidisciplinary field, game studies combine the perspectives of many other disciplines: semiotics, sociology, architecture, and even eco-nomics. Each approach brings a specific definition of" what a game is" and thus" what a game can (or cannot) do." Thus, games have been considered social activities (Huizinga 1949), texts (Aarseth 1997), processes (Bogost 2008b) and more. Despite these differences, games have been found to have an impact on players, as they can be used for learning, changing perspectives, and gathering information (Rollinger 2020; Squire 2006).

Videogiochi e immaginario green

Author(s): Piano, A.
Language: Italian
Chapter in: Natura in pixel: Un libro sui videogiochi per la beneficenza ambientale
Publisher: Amazon Publishing Italia
Published: 2023
Pages: 98-111

Piramidi, oasi e altre amenità: scoprire l’Egitto con Assassin’s Creed: Origins

Author(s): Piano, A.
Language: Italian
Journal: Media, linguaggi, comunicazione: scenari del presente e del futuro
Published: 2023
Pages: 67-74
Negli ultimi anni si è assistito con sempre maggiore frequenza a un duplice fenomeno che ha visto coinvolti videogiochi e ricerca. Da un lato, è notevolmente cresciuto l’interesse accademico intorno alla rappresentazione della storia e dell’heritage nei videogiochi di aspirazione commerciale (Rollinger 2020). Dall’altro, si è assistito a una sempre maggiore cura nei dettagli e nella verosimiglianza storico-culturale da parte degli stessi creatori di videogiochi: Apotheon (Alientrap 2015), Sid Meier’s Civilization VI (Firaxis Games 2016), Red Dead Redemption II (Rockstar Games 2018) e God of War: Ragnarok (Sony Santa Monica 2022) sono solo alcuni tra i più recenti esempi. Uno dei casi-studio più interessanti in questo senso è l’intera serie di Assassin’s Creed (Ubisoft Montreal 2007). Fin dai primi capitoli della saga essa propone al giocatore un mondo virtuale da esplorare, una narrazione romanzata di grande impatto e svariati riferimenti culturali. Quasi ogni capitolo della saga è ambientato in tempi e località diverse: dalla Gerusalemme del XII secolo, all’Italia del Rinascimento, passando per la Rivoluzione americana o quella francese.

Poesia, videogiochi e gamification

Author(s): Piano, A.
Language: Italian
Chapter in: Nuovi spazi della poesia. Mediamorfosi, reti, apprendimento
Publisher: Meltemi Editore
Published: 2022
Pages: 209-234

Mythopoiesis and collective imagination in videogames

Author(s): Ceccherelli A., Ilardi E., Piano, A.
Language: English
Journal: Proceedings of the joint international event 9th ARQUEOLÓGICA 2.0 & 3rd GEORES, Valencia (Spain)
Publisher: Editorial Universitat Politècnica De València
Published: 2021
Pages: 515-518
As videogames become more and more popular, their ability to generate and communicate mythologies (mythopoiesis) appears clearer. Pokémon, The Legend of Zelda, and Halo are just a few of the specific transmedial storyworlds created through (relatively few) years of reiteration. At the same time, recent examples of massively diffused products also picture remediations of heritage, folk tales, architecture, and other cultural elements, reaching users of any background. Franchises like Assassin’s Creed, God of War, or Final Fantasy take large inspiration from various cultural heritages. By doing so, video-ludic remediations add to previously shared imaginary some peculiar interactive (ergodic) features: since video games have specific features that imply interaction by (and with) the user, the remediated cultural elements acquire properties that were not present in any previous representation. The interest of this study is to enlighten how it is possible for blockbuster videogames to build over previous archetypes and imaginaries, creating common knowledge about certain cultural objects, myths, and figures, among players on a global scale. The main focus of this research will be Japanese cultural heritage representation in recent popular videogames such as Nioh, Ghost of Tsushima, and Sekiro: Shadows Die Twice. In a comparative analysis of these products, the study will try to underline the common elements of blockbuster remediations, while exploring the emerging interactive (ergodic) features that the mentioned videogames add to previously shared imaginary of portrayed cultural elements. Any emerging evidence will then serve to build a …

The Pac-Pac Authoring Environment for Game Design Teaching: Two Learning Experiences Compared

Author(s): Argiolas R., Cuccu S., Piano, A.
Language: English
Journal: Proceedings of the International Conferences on Interfaces and Human Computer Interaction 2021 and Game and Entertainment Technologies 2021
Published: 2021
Video games are part of ordinary life for many people, with a noticeable effect on the way of thinking, acting, and learning. In addition, it appears that video games have a great potential to communicate and teach specific knowledge, by designing experiences that could lead to desired learning outcomes. This was proved also in communicating the values of cultural heritage, both material and immaterial, and in increasing the interest in physical places where videogames are set. The representation of reality and real places in video games is a topical theme. In fact, the accuracy in the representation of a real place is not a supplementary value, but it can make the difference in the choice of a video game. The contribution proposes a digression on the use of a new unreleased tool in two learning events related to heritage. The tool and the events are parts of a research, aiming to explore the potential of first-person cinematographic video games as support for cultural and environmental heritage promotion. Analysed events differ in many aspects, including learner categories, spatial and temporal organization, and finally the social condition in which the events were held. The first one was held in attendance, before the Covid-19 pandemic, and the other in a period of strong mobility restrictions, as an online experience.

Cultural Heritage and Environmental Communication Through Digital Games

Author(s): Cuccu S., Piano, A.
Language: English
Journal: Proceedings of DiGRA 2020 Conference: Play Everywhere
Published: 2020
The PAC-PAC research project of the University of Cagliari explores the potential of video games in promoting, valorizing, and communicating cultural heritage. Through the creation of digital games set in less well-known cultural sites, the project aims to investigate how such ludic experiences could influence touristic interest and cultural heritage divulgation.

Culture in play: Digitization of a traditional game

Author(s): Piano, A.
Language: English
Masters Thesis
Published: 2015
When approaching play and games, it is relevant to understand how their creation, consumption, and diffusion can be influenced by broader contexts. Forerunners of game studies such as Johan Huizinga and Roger Caillois hypothesized a very deep connection between play and culture, seeing them as complementary. Many other scholars investigated the topic since then, often recognizing that play and games can be expressions of different cultures, or that their effective understanding is rooted in socially shared meaning. Culture has been defined by Geert Hofstede as a mental programing, a software of the mind that includes all the patterns of thinking, feeling, and acting established within a person’s mind. It is a learned collective structure that influences individuals in every aspect of their lives. To date, little research has been conducted concerning cultural influence in game design and fruition, and the topic is still uncertain. In this thesis, we discuss the hypothesis that play and games, as culturally related activities and products, are influenced by the sociocultural environment for many aspects. Hence, their consumption, or rather the experience that could result when approaching them, varies depending on the individual’s cultural context. In order to sustain this claim, we formulated a set of design strategies that could effectively reflect cultural values in game development. First, we structured a theoretical basis by analyzing existing literature on a game studies perspective, and on a sociological approach. Sardinian peasant society was identified as a case-study culture, and we analyzed its traditional heritage in order to find a folkloric game …

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