The first body appeared before he could name the day.

In Dis there are no days. Only cycles of darkness that lightens and darkness that thickens. And between them, work: the bodies no one wants to touch, the pit no one wants to look at, the rhythm no one wants to hear.

Scrrrr — pause — scrrrr — pause — scrrrr.

The same rhythm as the Tic Tac.

Chapter 14 is the chapter of the nameless transformation. While dragging the dead through Dis's bone corridors, three encounters dismantle him from different angles. The thirty-seven Recordantes who gather in the hollow and scream in silence — mouths open, throats tensed, no sound coming out — until he opens his mouth too and lets out the weight he carried from above. The crayon drawing. PAPÁ with the P backwards. The guard left on the floor. The silence of that word leaving like weight being lifted, not like sound.

Then Qadim — a man older than time itself, seller of stories from those who can no longer tell them. Who reveals what Urzal never said: the First also had the fracture. The same porousness. The same border too thin between himself and everything else. He had to choose between saving someone he loved or saving himself. He chose to use the fracture to save the other. And in doing so, the fracture devoured him. He became Dis. Urzal was human. And he might be the last.

Then Gula — one of the Seven Pillars, the one who controls information, the one who knows what you need before you know it yourself. Who confirms what Qadim didn't finish: soon he will have to make the same choice the First made. And she will be there. Selling tickets.

But the most decisive moment has no witnesses. Sitting on bone that was once a person, in the silence between one body and the next, he hears something that doesn't come from the Zero, that doesn't come from Urzal. It comes from inside. From the place that was always there.

. (here) . . . (I was always here) . . . (waiting for you to listen).

The Tic Tac spoke. His own. For the first time in his life, from within.

And when Urzal says from the depths — you are mine — he answers from that new place: I am not yours. We are the same. And Urzal smiles. Because that was exactly what he wanted him to understand. Or what he feared he would understand. In Dis, always both.

The chapter closes with nine leitmotifs planted in Urzal's garden. And a tenth seed — the smallest, the most dangerous: the word «thank you» said to a body that could no longer hear. Proof that he is still human. Still.

🎬 Watch the Ch. 1 cinematography on YouTube: youtube.com/@MinusHuman.Universe search "MINUS HUMAN El Umbral"

🔹 MINUS HUMAN — The Anomal Saga Jesús Bernal Allende | Escuela del Deber-Optimizar y la Soberanía de la Evidencia https://a.co/d/0aqn7Oja 🌐 https://minushuman.io 🔗 https://www.linkedin.com/in/jesus-bernal-allende-030b2795

The Tic Tac was the first thing to die.

It didn't distort. It didn't accelerate. It simply stopped being a Tic Tac. And became something else.

. . . (listen) . . . (can you hear me?) . . . (I always heard you).

Dis is not a place beneath another place. Dis is what remains when you remove everything else. The negative of a photograph no one took. The echo of a word no one spoke. The ship doesn't descend because the pilot steers it downward — it descends because down is all that remains. Because Dis permits no other direction. Because something is swallowing them and the only option is to let it.

The structures waiting below are not buildings. They are ribs. Dis is built inside the skeleton of something that died so long ago that the word «death» lost its meaning. And the bones keep growing — millimeter by millimeter, century by century. A corpse that still dreams.

Between the ribs, children. Dozens. Sitting in absolute silence — not the silence of absence but the silence of something extracted from them along with everything else. Beneath their tongues: implants pulsing with the same rhythm as the Zero. The Attuned. What grows in the empty space when you take a child's future away.

At the center of everything: the Zero. Not a hole — a wound. A tear in the fabric of what exists, thirty meters across, darkness that is not the absence of light but the presence of something else. Something that has been waiting for eternities. Something that was waiting for him specifically. Because when he leans over the edge and what is below looks back up — not as enemy, not as god — something inside him responds. Recognizes it. As kin.

. . . (because you are what they are trying to manufacture) . . . (the children are copies) . . . (you are the original) . . . (you are what existed before they decided it should not exist).

He was not chosen. Not special. He was an heir.

And when he finally understands what the Tic Tac has been his entire life — not gift, not curse, but echo of something the system buried — he performs the only act of resistance possible before Urzal, before the oldest cage of all: a nod. A declaration of war so small that only he and Urzal can see it.

Because Urzal is also a system. Only older. More patient. Freedom is not above or below. It is somewhere that does not yet exist. That he will have to build.

I'll stay — he said. For now — he added.

In the «for now» there is a seed. And seeds, even in Dis, even in the breathing tomb — grow.

🎬 Watch the Ch. 1 cinematography on YouTube: youtube.com/@MinusHuman.Universe search "MINUS HUMAN El Umbral"

🔹 MINUS HUMAN — The Anomal Saga Jesús Bernal Allende | Escuela del Deber-Optimizar y la Soberanía de la Evidencia https://a.co/d/0aqn7Oja 🌐 https://minushuman.io 🔗 https://www.linkedin.com/in/jesus-bernal-allende-030b2795

The alarm didn't sound. It detonated.

Seven minutes, Liora had said. Seven minutes where the surveillance system would enter its update cycle. Where the cameras would record but not transmit in real time. Four seconds in, and the world is already ending.

Chapter 12 is the escape. Not the heroic escape — the real one. The kind where no plan survives first contact. The kind that turns the building into a living organism: corridors that seal like jaws, drones born from steel chrysalises, a system that learns from every step he takes. ARGOS recalculates. The Tic Tac commands. The body acts before the mind arrives.

But there is something ARGOS cannot calculate. Behind the glass, while he runs, the faces pass: an old man with his hands pressed against the crystal. A woman singing with her eyes closed while chaos erupts outside her cell. A child of ten who watches him — not asking for help, but saying goodbye. With a smile too old for his face. The smile of someone who already knows how this ends and chooses to wave him off anyway. The Tic Tac gives him no time for horror. Only direction. Forward. Always forward.

Then comes the death. A young guard. A weapon. A second where there is no time for anything except what he is — the frequency that makes him different, the frequency the system wants to extract and sell. The golden fracture that leaves his chest and touches the guard. The guard who goes out like a light. On the floor, rolling from the guard's pocket: a drawing in crayon. "PAPÁ" with the P backwards. A red heart. Two figures holding hands.

(the first one)

At the end of the corridor: the man with empty eyes. The one who makes the Tic Tac disappear for the first time in his life. He does not run. He walks. Each step covers exactly the same distance. The echo of his footsteps arrives before the step itself. And when the red light pulses over him, there is no shadow.

There is no exit. Only a gap where Cronos never finished growing. Darkness below that promises nothing. The hunter five meters away. And the Tic Tac returning — trembling, as if it too is afraid — to deliver a single blow to the sternum.

JUMP.

In the fall: threads. Threads of something without a name, crossing the void like veins in an infinite body. One of them golden, pulsing with the same rhythm as the Tic Tac. And at the bottom, in darkness that has never seen sunlight — a voice. Hoarse. Worn. And beneath the voice, barely audible: another Tic Tac. Slower. Older. But beating.

Two frequencies. Two cracks in the system.

Above, at the edge of the void, the hunter tilts his head for the first time. The gesture he makes when he finds something that was not in the models.

🎬 Watch the Ch. 1 cinematography on YouTube: youtube.com/@MinusHuman.Universe search "MINUS HUMAN El Umbral"

🔹 MINUS HUMAN — The Anomal Saga Jesús Bernal Allende | Escuela del Deber-Optimizar y la Soberanía de la Evidencia https://a.co/d/0aqn7Oja 🌐 https://minushuman.io 🔗 https://www.linkedin.com/in/jesus-bernal-allende-030b2795