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(Download PDF) Disney Stories Getting To Digital Krystina Madej Online Ebook All Chapter PDF
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(Download PDF) Disney Stories Getting To Digital Krystina Madej Online Ebook All Chapter PDF
Krystina Madej
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Krystina Madej
Newton Lee
Disney
Stories
Getting to Digital
Second Edition
Disney Stories
Krystina Madej • Newton Lee
Disney Stories
Getting to Digital
This Springer imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Dedicated to all the children and adults in
the world who enjoy “the happiest place on
earth” physically and digitally.
Newton Lee
vii
viii About the Book
audiences enjoy with the animatronic character Hondo Ohnaka on their way to see
the Millennium Falcon in an across-media digital experience.
Newton Lee teaches Disney in his game design courses and I want to thank him
for his suggestion to include Star Wars and for the review of Kingdom Hearts he
provided for this edition, it is an exciting game that warrants a place in Disney game
history.
Dr. Krystina Madej
December 2019
Disney stories are, more than ever, present across all media. This book provides
readers with a brief and accessible look at how Disney has used technological inno-
vation to create characters and stories that engage audiences in many different
media, from early film to today’s video games and online environments.
Drawing on Disney films from the 1920s until they became digital, and on the
extensive collection of writings both in print and on the Web by Disney historians of
all ilks, the book presents how innovation in film and animation techniques worked
to evolve ideas about character and content to produce stories that very successfully
engaged audiences. The evolution of the genre took animation from gags to full-
length animated films in theatres, then across media into people’s homes through
merchandising, television, and into a virtual world through theme parks, all the
while creating a Disney Master Narrative. This historical sketch provides the back-
story for considering Disney stories move into the virtual digital world in the 1990s
and the online communities of the 2000s. When Disney reached out to its audience
with The Lion King Animated Storybook in 1994, it was following a well-established
tradition of using leading-edge technology to remediate its stories and engage its
audience in new ways, in this case, through the interactivity potential of digital
environments. With the subsequent move into online MMORPGs such as Toontown
Online, the community that had developed around Disney stories could now com-
municate and share the experience, one to one, across continents.
Dr. Alan Kay, president of Viewpoints Research Institute and former Disney
Fellow, describes the book as “an affectionate portrait of how ‘the mouse’ learned
to use the mouse.”
Newton Lee
Krystina Madej
Acknowledgements
I would like to thank the authors of the many books which tell the story of the Walt
Disney Company and that have been an invaluable resource in writing this edition.
Some had access to Walt himself, a few to colleagues and employees who they were
able to interview, and others to the extensive material in the Disney archives. They
include Michael Barrier, Andreas Deja, Christopher Finch, Neal Gabler, Christian
Morran, David Price, Jason Surrell, Bob Thomas, Jay Telotte, and Steven Watts,
among others. I am an armchair researcher, who now has at hand the formidable
resources of the World Wide Web. If I think about it, I must thank Tim Berners Lee
for inventing the WWW, ensuring it was free, and promoting it for general interest.
The result is an expanse of information that would probably not have been available
to me otherwise. The interest in Disney, in Pixar, and in CGI by researchers and
Disney fans has created a motherlode of docushorts, interviews, articles, original
films, and original documents from past eras. Thank you to Disney for sharing so
many of its resources online, to Pixar for the extensive number of videos they have
made available on the process behind the films (to Disney for this as well), to news-
papers and periodicals across the country whose archives have been made freely
available, and to those who had original materials and shared them. During one
search into Pixar, the original proposal written at Graphics Group for the Disney
CAPS project showed up; it was a treasure of information about the development
process the Pixar team had planned for the project. Particularly helpful for clarify-
ing the many company moves CGI researchers made was Mike Seymour’s inter-
view with Alvy Ray Smith, for insight into CAPS was Barbara Robertson’s article
for Computer Graphics World (the first reveal about the system), and for their expla-
nation of the work on the early CGI test short Where the Wild Things Are was John
Lasseter and Glen Keane’s discussion in Disney Newsreel. I had seen the test previ-
ously and Amid Amidi’s posting of the Disney newsletter helped fill out the story.
Thank you too for all the docushorts posted on the development of Toy Story.
Listening to Ed Catmull, John Lasseter, and others who worked on the film discuss
the process brought forward their perspective on a complex story. This documenta-
tion follows in Walt’s footsteps; the studio archived all its meeting from its begin-
ning—even early gag notes are available to researchers. Searching for history,
ix
x Acknowledgements
however, only goes so far. Then the work to filter it begins: but that is the joy of
research, finding the kernels. In this I am inspired and encouraged by Dr. Jay Telotte,
a Disney scholar, and my teaching colleague at Georgia Tech, Richard Utz, who
freed me from many academic responsibilities so I had time to work on writing, and
to Jan Stasienko at the University of Lower Silesia in Wroclaw, Poland, who has
trusted his Erasmus students to my Disney enthusiasms. I want to say thank you in
particular to my children, Nicola, Michael, and Daniel, who were always prepared
to watch one more Disney film with me, one more time; they are now grown and
will soon be inculcating a new generation of Disney fans, and to my spouse, Jim
Budd, for his ongoing support.
Krystina Madej
We would like to posthumously thank Mark Mandelbaum, our agent for the orig-
inal edition of Disney Stories. Mark was a digital publishing enthusiast and Director
of Publications at ACM for 30 years. He had a very positive approach to helping
people and promoting new ideas.
Krystina Madej
Newton Lee
Contents
xi
xii Contents
Index������������������������������������������������������������������������������������������������������������������ 231
About the Authors
Newton Lee He is an author, educator, and futurist. He was the founder of Disney
Online Technology Forum, creator of AT&T Bell Labs’ first-ever commercial artifi-
cial intelligence tool, inventor of the world’s first annotated multimedia OPAC for
the U.S. National Agricultural Library, and longest serving editor-in-chief in the
history of the Association for Computing Machinery for its publication Computers
in Entertainment (2003–2018). Lee is the chairman of the California Transhumanist
Party, education and media advisor to the United States Transhumanist Party, and
president of the 501(c)(3) nonprofit Institute for Education, Research, and
Scholarships. He graduated Summa Cum Laude from Virginia Tech with a B.S. and
M.S. degree in Computer Science (specializing in artificial intelligence), and he
earned a perfect GPA from Vincennes University with an A.S. degree in Electrical
Engineering and an honorary doctorate in Computer Science. He has lectured at
Massachusetts Institute of Technology, University of Southern California, Vincennes
University, and Woodbury University. He has been honored with a Michigan
Leading Edge Technologies Award, two community development awards from the
California Junior Chamber of Commerce, and four volunteer project leadership
awards from The Walt Disney Company.
Krystina Madej She is an author, speaker, and professor of the Practice at Georgia
Tech, Atlanta. At Tech since 2011, she teaches about and researches how humans
have adapted their narratives to changing media throughout the centuries, physical
play, and children’s interaction with digital games that are based in narrative, and in
Disney’s approach to stories across media since the 1920s. Adjunct Professor with
the School for Interactive Art and Technology (SIAT) at Simon Fraser University,
Vancouver, for 10 years, she taught as Visiting Professor for the Center for Digital
Media’s Master’s degree program. She is research faculty at the University of Lower
Silesia, Wroclaw, Poland, where as Visiting Professor she teaches Disney History
and Children’s Game Design for the Erasmus Program and Design Thinking and
xv
xvi About the Authors
History of Social Media for the Big Data, Digital Media, and Trendwatching
Master’s Program. Prior to returning to academia in 1999, she was the principal of
a communications and design firm for 15 years, where, as design strategist, she
planned and created successful branding programs and exhibits for government,
business, industry, and museums.
Chapter 1
Introduction: Stories Across Media
The early 1990s was a heady time for interactive digital stories. Just a few years
earlier, in 1987, Amanda Goodenough had used the newly-released HyperCard to
write the first interactive digital story, Inigo Gets Out.1 Her motivation? To capture
the traditional storytelling atmosphere her grandmother had created for her when
she was a young child: a vital interactive environment in which her grandmother
would say, “what do you think happens next?” and in which the lines were never the
same. The stories her grandmother told became Amanda’s as she helped shape them
with her own interpretations and brought them into her everyday reality. In Amanda’s
interactive story, children make Inigo’s actions their own. “Children know intui-
tively where to click,” and how to make the story happen. It is no longer a “print”
story, with words and pictures on a page, but a virtual story environment with which
to interact and in which things can be made to happen.
Online photos and graphics provide extra detail and are identified by urls the reader can refer to.
This additional reference information will be particularly beneficial as an enhancement for the
online version of this book. URLs are current at time of printing.
1
Inigo Gets Out is the first interactive digital story created in 1987 by Amanda Goodenough using
the HyperCard program. Archive: Inigo Gets Out: https://archive.org/details/hypercard_inigo_
gets_out.
Inigo was closely followed in 1988 by one of the first edutainment video games,
Mixed-Up Mother Goose.2 Sierra On-Line’s Roberta Williams, who had created the
first graphic adventure game Mystery House in 1979, wanted to develop a game for
her children that was more than entertainment, that also had an educational compo-
nent. She chose to work with popular nursery rhymes and in Mixed-Up Mother
Goose created an interactive story in which children travel to a land where the
rhymes are real and have gotten themselves all mixed up. The children help each of
the characters put their rhyme back in order by bringing back objects, people, or
animals that belong to the rhyme but have been lost. Companies such as Voyageur,
Broderbund, Simon and Schuster Interactive, Discis, and numerous smaller publish-
ers, soon began publishing stories in CD-ROM format for children to engage with.
Kids clicked their way through adventures with Peter Rabbit, Lil Critter, Brother
and Sister Bear, and animated characters created just for the genre such as Slater
and Charlie. They listened, sang, made things happen, played games, and even did
so in the language of their choice—English, French, or Spanish.
Disney has been a part of this video game landscape since 1981. The Nintendo
Game and Watch video game Mickey Mouse has Mickey, in typical arcade game
action, juggling eggs (Madej, Children’s Games from Turtle to Squirtle, 2018). It
wasn’t until 1994 that the company gave one of its stories, The Lion King, an
interactive story life in CD-ROM format as Disney’s Animated Storybook: The
Lion King. 1994 was also the year that brought Netscape Navigator to the Internet
and made it user-friendly for the general public. Disney, never shy about being
either the first or among the first to take advantage of new media opportunities to
bring its characters and stories to the public, continued its move into interactive
media and set up Disney Online. Today, sites such as Pirates of the Caribbean
offer players an environment where they interact with their friends to create sto-
ries for themselves.
Disney has entrenched its stories in online media since the mid-1990s; in doing
so it has continued to add to the transmedia mix that is a distinctive characteristic of
the way it brings its story products to a diverse audience. Disney stories are like a
Ferris wheel, the story is the hub from which media radiate as a spoke: different
activities are the cab at the end of a spoke and engage parents, kids, and all manner
of folks as they get on and off. Disney taps into humankind’s innate interest in com-
municating stories as it uses media this way.
Through historical time—and even among our aboriginal forefathers—all the races of man
have been dramatizing these eternal quests and conquests of mind and heart; in arenas,
around tribal fires, in temples and theaters. The modes of entertainment have changed
through the centuries; the content of public shows, very little. (Walt Disney)
2
Mixed-up Mother Goose was first released by Sierra On-Line in 1988. Designed as an adventure
game for toddlers, it brought them into a fantasy world of nursery rhymes. Great gameplay and
engaging graphics (for the time) made it a very popular story game. Mixed-Up Mother Goose:
http://www.mobygames.com/game/amiga/mixed-up-mother-goose.
16 2 Early Animation: Gags and Situations
theatre attractions and protocol. They proved to be popular and Walt continued pro-
viding Field with one-minute shorts, including Cleaning Up!!?, and Kansas City’s
Spring Cleanup.
By February 1922 Walt had saved enough money from his job at Kansas City
Film Ad Company (he made no profit on selling his films) to buy a Universal camera
and tripod. Cauger had let him rent a shop where he could experiment on films in
the evenings after working at the advertising studio all day. Walt enjoyed some
small measure of fame because of the films and Cauger showed the films as what the
company was capable of, even though in their own ads he would not use drawings.
2.4 Laugh-O-Grams
Walt officially started his new business on June 17, 1922, while he was still an
employee at Kansas City Film Ad Company. Motion Picture News announced the
start up of Laugh-O-Grams (Gabler 2006, p. 64):
They will produce Laugh-O-Gram animated cartoon comedies which will be cartooned by
Walter E. Disney.
One of the last projects Walt worked on was a new series of animations based on
fairytales. He was heavily influenced by the work of Paul Terry, a leading New York
animator who in 1921 had released a send-up of Aesop’s Fables that was an instant
success with audiences. Terry produced one fable every week for 8 years until 1928.
Walt felt he needed a similar hook for his animations. He decided to use well-known
fairy tales, put them into a contemporary context, and give them a modern twist.
Little Red Riding Hood5 was the first fairy tale that Walt produced in this series. The
Four Musicians of Bremen, a second tale, was also completed while he worked at
Film Ad. These were released in July and August respectively of that year.
Walt had raised some $ 2500 from friends and the young associates who were
working with him to run Laugh-O-Grams. The remainder of the money (the com-
pany was capitalized at $ 15,000 with around $ 5000 in assets) was difficult to raise
(Barrier 2007). With Little Red Riding Hood and a reel of Lafflets, an experimental
short that consisted of jokes and commentaries, Walt went out to sell his new com-
pany. He had success with investors such as John Cowles, a Kansas City doctor,
who was also a speculator and interested in new investments. Walt quickly rented
space, took out ads, and hired staff; but there was a weak market for animated shorts
at the time, and selling the idea was more difficult than he anticipated. He sent his
sales manager to New York; after a stay that cost the company more money than
they had in the bank, he finally concluded a deal in September for six animations
with Pictorial Clubs, Inc. Laugh-O-Grams was to receive $ 100 down and the
remainder, $ 11,000, was to be paid January 1924, almost 18 months later (Burnes
5
“Laugh-O-Grams” were based on traditional fairy tales and given a contemporary twist. https://
www.youtube.com/watch?v=Hz31ZQOASno
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Ozymandias
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.
Title: Ozymandias
Language: English
By IVAR JORGENSON
In any event, once we had thrashed out the matter of whether or not
we were going to stay here or pull up and head for the next planet on
our schedule, the five of us set to work. We knew we had only a
week—Mattern would never grant us an extension unless we came
up with something good enough to change his mind, which was
improbable—and we wanted to get as much done in that week as
possible. With the sky as full of worlds as it is, this planet might
never be visited by Earth scientists again.
Mattern and his men served notice right away that they were going
to help us, but reluctantly and minimally. We unlimbered the three
small halftracks carried aboard ship and got them into functioning
order. We stowed our gear—cameras, pick-&-shovels, camel's-hair
brushes—and donned our breathing-masks, and Mattern's men
helped us get the halftracks out of the ship and pointed in the right
direction.
Then they stood back and waited for us to shove off.
"Don't any of you plan to accompany us?" Leopold asked. The
halftracks each held up to four men.
Mattern shook his head. "You fellows go out by yourselves today and
let us know what you find. We can make better use of the time filing
and catching up on back log entries."
I saw Leopold start to scowl. Mattern was being openly
contemptuous; the least he could do was have his men make a
token search for fissionable or fusionable matter! But Leopold
swallowed down his anger.
"Okay," he said. "You do that. If we come across any raw veins of
plutonium I'll radio back."
"Sure," Mattern said. "Thanks for the favor. Let me know if you find a
brass mine, too." He laughed harshly. "Raw plutonium! I half believe
you're serious!"
We had worked out a rough sketch of the area, and we split up into
three units. Leopold, alone, headed straight due west, toward the dry
riverbed we had spotted from the air. He intended to check alluvial
deposits, I guess.
Marshall and Webster, sharing one halftrack, struck out to the hilly
country southeast of our landing point. A substantial city appeared to
be buried under the sand there. Gerhardt and I, in the other vehicle,
made off to the north, where we hoped to find remnants of yet
another city. It was a bleak, windy day; the endless sand that
covered this world mounted into little dunes before us, and the wind
picked up handfuls and tossed it against the plastite dome that
covered our truck. Underneath the steel cleats of our tractor-belt,
there was a steady crunch-crunch of metal coming down on sand
that hadn't been disturbed in millennia.
Neither of us spoke for a while. Then Gerhardt said, "I hope the
ship's still there when we get back to the base."
Frowning, I turned to look at him as I drove. Gerhardt had always
been an enigma: a small scrunchy guy with untidy brown hair
flapping in his eyes, eyes that were set a little too close together. He
had a degree from the University of Kansas and had put in some
time on their field staff with distinction, or so his references said.
I said, "What the hell do you mean?"
"I don't trust Mattern. He hates us."
"He doesn't. Mattern's no villain—just a fellow who wants to do his
job and go home. But what do you mean, the ship not being there?"
"He'll blast off without us. You see the way he sent us all out into the
desert, and kept his own men back. I tell you, he'll strand us here!"
I snorted. "Don't be a paranoid. Mattern won't do anything of the
sort."
"He thinks we're dead weight on the expedition," Gerhardt insisted.
"What better way to get rid of us?"
The halftrack breasted a hump in the desert. I kept wishing a vulture
would squeal somewhere, but there was not even that. Life had left
this world ages ago. I said, "Mattern doesn't have much use for us,
sure. But would he blast off and leave three perfectly good halftracks
behind? Would he?"
It was a good point. Gerhardt grunted agreement after a while.
Mattern would never toss equipment away, though he might not have
such scruples about five surplus archaeologists.
We rode along silently for a while longer. By now we had covered
twenty miles through this utterly barren land. As far as I could see,
we might just as well have stayed at the ship. At least there we had a
surface lie of building foundations.
But another ten miles and we came across our city. It seemed to be
of linear form, no more than half a mile wide and stretching out as far
as we could see—maybe six or seven hundred miles; if we had time,
we would check the dimensions from the air.
Of course it wasn't much of a city. The sand had pretty well covered
everything, but we could see foundations jutting up here and there,
weathered lumps of structural concrete and reinforced metal. We got
out and unpacked the power-shovel.
An hour later, we were sticky with sweat under our thin spacesuits
and we had succeeded in transferring a few thousand cubic yards of
soil from the ground to an area a dozen yards away. We had dug
one devil of a big hole in the ground.
And we had nothing.
Nothing. Not an artifact, not a skull, not a yellowed tooth. No spoons,
no knives, no baby-rattles.
Nothing.
The foundations of some of the buildings had endured, though
whittled down to stumps by a million years of sand and wind and
rain. But nothing else of this civilization had survived. Mattern, in his
scorn, had been right, I admitted ruefully: this planet was as useless
to us as it was to them. Weathered foundations could tell us little
except that there had once been a civilization here. An imaginative
paleontologist can reconstruct a dinosaur from a fragment of a thigh-
bone, can sketch out a presentable saurian with only a fossilized
ischium to guide him. But could we extrapolate a culture, a code of
laws, a technology, a philosophy, from bare weathered building
foundations?
Not very likely.
We moved on and dug somewhere else half a mile away, hoping at
least to unearth one tangible remnant of the civilization that had
been. But time had done its work; we were lucky to have the building
foundations. All else was gone.
"Boundless and bare, the lone and level sands stretch far away," I
muttered.
Gerhardt looked up from his digging. "Eh? What's that?" he
demanded.
"Shelley," I told him.
"Oh. Him."
He went back to digging.
Late in the afternoon we finally decided to call it quits and head back
to the base. We had been in the field for seven hours, and had
nothing to show for it except a few hundred feet of tridim films of
building foundations.
The sun was beginning to set; Planet Four had a thirty-five hour day,
and it was coming to its end. The sky, always somber, was darkening
now. There was no moon to be still as bright. Planet Four had no
satellites. It seemed a bit unfair; Three and Five of the system each
had four moons, while around the massive gas giant that was Eight a
cluster of thirteen moonlets whirled.
We wheeled round and headed back, taking an alternate route three
miles east of the one we had used on the way out, in case we might
spot something. It was a forlorn hope, though.
Six miles along our journey, the truck radio came to life. The dry,
testy voice of Dr. Leopold reached us:
"Calling Trucks Two and Three. Two and Three, do you read me?
Come in, Two and Three."
Gerhardt was driving. I reached across his knee to key in the
response channel and said, "Anderson and Gerhardt in Number
Three, sir. We read you."
A moment later, somewhat more faintly, came the sound of Number
Two keying into the threeway channel, and I heard Marshall saying,
"Marshall and Webster in Two, Dr. Leopold. Is something wrong?"
"I've found something," Leopold said.
From the way Marshall exclaimed "Really!" I knew that Truck
Number Two had had no better luck than we. I said, "That makes
one of us, then."
"You've had no luck, Anderson?"
"Not a scrap. Not a potsherd."
"How about you, Marshall?"
"Check. Scattered signs of a city, but nothing of archaeological
value, sir."
I heard Leopold chuckle before he said, "Well, I've found something.
It's a little too heavy for me to manage by myself. I want both outfits
to come out here and take a look at it."
"What is it, sir?" Marshall and I asked simultaneously, in just about
the same words.
But Leopold was fond of playing the Man of Mystery. He said, "You'll
see when you get here. Take down my coordinates and get a move
on. I want to be back at the base by nightfall."
At the base that night, Colonel Mattern and his seven aides were
remarkably curious about our day's activities. They tried to make it
seem as if they were taking a sincere interest in our work, but it was
perfectly obvious to us that they were simply goading us into telling
them what they had anticipated—that we had found absolutely
nothing. This was the response they got, since Leopold forbade
mentioning Ozymandias. Aside from the robot, the truth was that we
had found nothing, and when they learned of this they smiled
knowingly, as if saying that had we listened to them in the first place
we would all be back on Earth seven days earlier, with no loss.
The following morning after breakfast Mattern announced that he
was sending out a squad to look for fusionable materials, unless we
objected.
"We'll only need one of the halftracks," he said. "That leaves two for
you. You don't mind, do you?"
"We can get along with two," Leopold replied a little sourly. "Just so
you keep out of our territory."
"Which is?"
Instead of telling him, Leopold merely said, "We've adequately
examined the area to the southeast of here, and found nothing of
note. It won't matter to us if your geological equipment chews the
place up."
Mattern nodded, eyeing Leopold curiously as if the obvious
concealment of our place of operations had aroused suspicions. I
wondered whether it was wise to conceal information from Mattern.
Well, Leopold wanted to play his little game, I thought; and one way
to keep Mattern from seeing Ozymandias was not to tell him where
we would be working.
"I thought you said this planet was useless from your viewpoint,
Colonel," I remarked.
Mattern stared at me. "I'm sure of it. But it would be idiotic of me not
to have a look, wouldn't it—as long as we're spending the time here
anyway?"
I had to admit that he was right. "Do you expect to find anything,
though?"
He shrugged. "No fissionables, certainly. It's a safe bet that
everything radioactive on this planet has long since decomposed.
But there's always the possibility of lithium, you know."
"Or pure tritium," Leopold said acidly. Mattern merely laughed, and
made no reply.
Half an hour later we were bound westward again to the point where
we had left Ozymandias. Gerhardt, Webster and I rode together in
one halftrack, and Leopold and Marshall occupied the other. The
third, with two of Mattern's men and the prospecting equipment,
ventured off to the southeast toward the area Marshall and Webster
had fruitlessly combed the day before.
Ozymandias was where we had left him, with the sun coming up
behind him and glowing round his sides. I wondered how many
sunrises he had seen. Billions, perhaps.
We parked the halftracks not far from the robot and approached,
Webster filming him in the bright light of morning. A wind was
whistling down from the north, kicking up eddies in the sand.
"Ozymandias have remain here," the robot said as we drew near.
In English.
For a moment we didn't realize what had happened, but what
followed afterward was a five-man quadruple-take. While we gabbled