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据监督者议会指示

以下文件为4/5000级机密。禁止未经授权存取。

5000


Item #: SCP-5000
项目编号 SCP-5000
Level 4/5000
Object Class: Euclid
项目等级 Euclid
Classified
机密

lamplight1.jpg

A picture of one of SCP-5000's "burning" lamps in the Aetherium district; similar in effect to sodium lamps but based on thaumaturgy rather than mainstream technology.

lamplight1.jpg

图中为位于SCP-5000神光区的一盏正在“燃烧”的路灯,尽管效果与钠光灯近似,但其发光原理基于奇术而非常规科技。

Special Containment Procedures: Diplomatic relations with SCP-5000 have been established under the terms of the Sarai Treaty. A permanent researcher is to be stationed on SCP-5000 at all times, whose presence can only be allowed or rescinded by the agreement of the project lead and two Foundation psychologists. Other Foundation personnel are permitted conditional research access to SCP-5000 with the approval of their supervisor. Access is gained via a Scranton-Meyerbeer Arc from Site-Q46, located in the Aadzain Universe on the far side of the Western Cluster. Contact your extrauniversal contact for more information.
特殊收容措施:已根据萨莱条约建立与SCP-5000的外交关系。SCP-5000内常驻一名永久研究员,对此职位的任命或废除需要得到项目主管与两名基金会心理学家的批准。其他基金会成员可在得到主管批准后得到对SCP-5000的有条件访问许可。欲访问SCP-5000需使用Site-Q46的斯克兰顿-迈尔贝尔宙弧,该站点位于西部宙群远端的阿扎因宇宙中。更多信息请咨询您的跨宇宙联络人。

Personnel are reminded that a prolonged stay in SCP-5000 may be severely emotionally taxing, and are encouraged to consider their own mental health before entering.
请注意,在SCP-5000长期停留可能会严重加重情感负担,建议所有人员进入SCP-5000之前考虑自己的心理健康。

Description: SCP-5000 is a human settlement, located 3449 whalons to the Multiversal East of the Central Reality Compass and 87 whalons beyond where matter is ordinarily capable of permanently existing. Consequently, it is the most remote settlement created by a sentient creature and the most remote matter in existence.
描述: SCP-5000为一个人类聚居地。SCP-5000位于多元宇宙域中现实原点以东3449维浪处,距离物质通常可永久存在之处87维浪,是目前已知最遥远的有知觉生物聚居地,也是现存已知最遥远的物质。

SCP-5000 is constructed on an expanse of an earth-like substance, which acts as a fertile soil. The extent of this expanse is unknown, as it is impossible to engage in long-term exploration beyond the limits of SCP-5000-1's light range.
SCP-5000健在在一片广阔的类地物体上建造的,该物体类似一块肥沃的土壤。由于无法在SCP-5000-1光照范围以外进行长期探索,尚不能确定其扩展范围。

SCP-5000-1 is a large biomechanical lantern suspended over SCP-5000. SCP-5000-1's light possesses a degree of reality stabilisation far in excess of any other known examples, allowing for the permanent existence of matter within its light range. However, SCP-5000-1's capacity as a light source is limited and temperamental. Due to its size and distance from SCP-5000, its lux illumination is relatively low in the settlement. It is frequently described as being similar to the light of a full moon on Earth.
SCP-5000-1为一个悬挂在SCP-5000上方的大型生物机械灯笼。 SCP-5000-1的灯光具有远超其他已知案例的的现实稳定度,可维持其灯光范围内的物质永久存在。 然而,SCP-5000-1作为光源的能力有限且不稳定。 由于其尺寸和与SCP-5000的距离,它的光照强度在聚居区相对较低。人们经常将其描述为类似于地球上满月的光。

SCP-5000-1 is suspended above SCP-5000 by a large protruding tendril, which emerges from the expanse and forms an arc above SCP-5000. The tendril is believed to be constructed from an artificially hardened and strengthened form of the expanse-substance.
SCP-5000-1由一个巨大的凸出的卷须状物体悬挂在SCP-5000上方,此卷须从地表伸出并在SCP-5000上方形成弧形。此卷须由经过人为硬化与强化的地表物质构成。

The composition of the expanse-substance is unknown. Various scholars have proposed a link to Sriskan holochrome, which possesses a similarly unusual molecular structure. However, the archeological record of Sriska is very limited, and no currently known Sriskan technologies could create something on the scale of the expanse-substance. The residents of SCP-5000 refer to the substance as "mahi loam", a word which has no known connection to any of the cultures on SCP-5000 and is of unknown provenance; further investigation is required.
地表物质的构成未知,多名学者认为其与斯利斯坎全色素有着相似的异常分子构成,进而可能存在联系。但关于斯利斯坎的考古记录非常有限,目前已知的斯利斯坎技术也无法制作出与地表物质相同规模的物体。SCP-5000的居民称此物质为“玛稀沃土”,该词出处不明,与SCP-5000上的任何已知文化之间也没有联系,有待进一步的研究。

The following is an assessment of other anecdotal evidence and theories concerning SCP-5000's surroundings by Dr. Hamish Franklin, Project Lead on SCP-5000.
以下是SCP-5000项目负责人哈米什·富兰克林博士对与SCP-5000周围环境有关的其他传闻证据和理论的评估。

Although the historical documentation surrounding SCP-5000's founding and history is relatively extensive, any scientific understanding of the town's surroundings or its light source remains beyond our capabilities. It is clear from the mechanical elements within SCP-5000-1 that it is a synthetic creation of an unknown civilisation, but there is nothing we can find that is remotely similar to it. There are some - some - similarities to Sriskan technologies within the substance of the expanse, but that kind of molecular structure has its forebears in any number of universes in that cluster and beyond - Aadzain, Harkhret, Kharak. What all of them lack is anything even slightly as advanced as SCP-5000-1, which can create almost Earth-like conditions in the midst of unreality.
尽管有关SCP-5000的建立和历史的历史文献数量相对而言很多,但我们仍然无法对城镇周围环境或光源做出科学的解释。 从SCP-5000-1中的机械元素看来,它很明显是未知文明的人造产物,但我们却找不到与它类似的东西。 尽管其地表物质与斯利斯坎技术有一些——只是一些——相似之处,但是这种分子结构在该宙群内外的各个宇宙中都能找到其先祖——包括阿扎因宇宙、哈克雷特宇宙和卡拉克宇宙。 它们又都缺乏和SCP-5000-1一样能在非现实中制造类地环境的先进技术。

Any number of theories have come forward. A research experiment of the old Empire, a neo-Oestrian birthing ground, an Aadzainian horse-culling centre - one biologist even thought it could be the remains of a Harkhret pioneer's anglerfish! These ideas are innovative but remain, at best, only mere speculation.
我们对此提出了许多理论。 例如认为它是旧帝国的一项研究实验,是新奥斯特里亚人的一个出生地,是阿扎因人的一个马匹饲养中心——一位生物学家甚至认为这可能是哈克雷特开拓者留下的一条鮟鱇鱼遗骸! 这些想法充满创意,但充其量只不过是推测。

Not even the populace can provide any clues. Whatever ancient people made it must be long dead now. We cannot send Foundation personnel beyond the city limits, of course - far too dangerous - and most anecdotes from the town's explorers simply speak of more and more dark, and that gradual unsettling feeling that they'd been away from the light for too long. Would-be pioneers have either been driven back swiftly or have disappeared.
当地的平民也无法提供任何线索。 制造它的古代人肯定早都死掉了。 当然了,我们也不能派出基金会人员离开城市的范围,因为这实在是太危险了。而大部分镇上探险者所讲的传闻也只是简单描述了光照之外越来越漆黑,以及长期远离光源所产生的不安感。 可能的开拓者们不是被迅速地赶了回来,就是永远消失了。

Only one anecdote has been preserved that holds any interest for us. Roughly a century ago, a particularly daring (or drunken) poet decided to pick a direction and head that way as long as possible. He was just about suicidal enough to stick with it longer than most others, but not so determined that he didn't eventually turn back.
只有一条传闻引起了我们的兴趣。大约在一个世纪前,一位勇敢无比(或者是酩酊大醉)的诗人决定向一个方向头也不回地尽可能走下去。这个诗人是如此的不自量力,以至于他停留得比其他所有人都久,但他同时也没有不自量力到一去不回头的程度。

Out there, many miles away, he happened to glance at his hand and saw it begin to unravel. In a panic, he stared across the landscape, and saw a brief glint on the horizon. Thinking it was home, he headed fast towards it, but after crossing a prominent ridge he found that he'd been going in the wrong direction entirely. Before him lay a glassy orb of immense proportions, the colour of milk, embedded into the earth. And a faint light shone beneath its surface.
在几英里之外出,他碰巧瞥了一下他的手,发现它开始散开。 惊慌失措之中,他向远处望去,发现地平线上短暂的发出了光芒。 他以为那边是家,便迅速向那里走去,但在越过一个突出的山脊后,他发现自己完全走错了方向。 在他的面前是一个巨大的乳白色玻璃状球体,球体嵌在地面,下方发出微弱的光芒。

By some miracle he managed to get home. There wasn't much of him left, and it didn't take long before he expired. But his half-mad, lunatic story he screamed out has stuck in the town's lore. For most of the townsfolk, it remains a cautionary tale for those who might consider stepping beyond the light's edge.
最后他总算是奇迹般地回到了家中,可也变得残破不堪,不久人世。但他喊出的那些疯疯癫癫的故事却留在了城镇的传说之中,成为对那些试图走出光照边缘的人的警示。

The following are a series of introductory essays on aspects of SCP-5000 by academics and Foundation personnel in the Sol and Orchard Universes who have studied the anomaly. These have been supplemented by Foundation logs that provide examples of the phenomena discussed.
以下是太阳系宇宙与果园宇宙中的异常学者与基金会人员对SCP-5000的一系列介绍性文章,同时配以基金会的相关记录,以对相关现象提供案例。

1. History by Dr. Johannes Kobold, Level 3 Foundation Historian.
1. 历史 作者:基金会3级历史学家约翰尼斯·科伯德。

SCP-5000 was founded by Jean-Antoine Delacroix, a noted poet from the Orchard Universe and former dragoman in the Kievan Republic. Delacroix discovered SCP-5000's location following the dissolution of his relationship with the Strathclyde painter Emily Woolf, leaving him in a state of extreme depression. He attempted suicide via arc blinking, launching himself in a random direction in the hope of expiring in the non-matter surrounding the multiverse.
SCP-5000由让-安东尼·德拉克洛瓦建立,德拉克洛瓦是果园宇宙的一位著名诗人,同时也是基辅共和国的一位前任领航人。建立SCP-5000之前,他刚与斯克莱德籍画家埃米莉·伍尔夫分手。极度绝望之中,决定自杀的德拉克洛瓦决定通过宙弧闪现将自己随机发射出去,让自己消失在多元宇宙域周边的非物质中。

Instead, Delacroix arrived close to SCP-5000-1. Deeply curious about the location, he blinked himself home to embark on a series of explorations of the site. He founded SCP-5000 in 2107 and gave it the name Lamplight, which remains its common name to this day. Delacroix's stated intention in founding the settlement was to create a place "that could provide a home to the damned, the dispossessed, the refugee and the lost".
但德拉克洛瓦没有成功,而是到达了SCP-5000-1附近。怀着对此处强烈的好奇,德拉克洛瓦通过闪现返回,并展开了对该地区的一系列探索。2107年,他建立了SCP-5000并将它命名为“孤灯”,此名称一直沿用至今。德拉克洛瓦宣称自己建立此定居点的目的是“为受诅咒者、流浪者、难民与迷途者提供一个家”。

However, the initial inhabitants were almost entirely artists, writers and intellectuals from the Orchard Universe, quickly ending Delacroix's utopian hopes for the town. He again fell into depression and disappeared in 2110.
然而,此定居点最初的居民却几乎全都是来自果园宇宙的艺术家、作家与知识分子。德拉克洛瓦的乌托邦梦想很快破灭,他再度陷入绝望并于2110年失踪。

Subsequent immigration to SCP-5000 has followed a similar pattern, with the majority of the town's population belonging to academic or artistic professions. Most other inhabitants are the survivors or descendants of two major influxes of refugees who took up residence in SCP-5000: a group of survivors of the Neon London in 2396 and the remnants of the Tribes of the Many Steppes in 2419.
之后迁徙至SCP-5000的成员遵循着相似的模式,因此镇上的居民主要由学者与艺术家组成。剩余的居民则主要是两批来到SCP-5000的难民的幸存者或是后裔:他们分别是2396年抵达的新伦敦难民于2419年抵达的众草原部落难民。

The nature of time in SCP-5000's non-matter surroundings means that human aging varies greatly from person to person. Consequently, while some visitors have undergone the span of a full human life in a single 24 hour cycle, others have shown no visible signs of aging across many centuries. This allows for an impressive range of sources for SCP-5000's history. An example of this can be found in the following interview with Sergei Osmanoglu, the owner of the Dragoman Tavern, who emigrated to SCP-5000 in 2109.
由于SCP-5000被非物质包围,因此其中居民的衰老速度存在明显的个体差异。某些来访者可能在24小时内走完整个生命周期,但另一些人则可能经过数个世纪还没有变老。这为SCP-5000提供了一个准确的历史考据来源。以下对谢尔盖·奥斯曼的采访描述了一个案例,谢尔盖是领航人酒馆的老板,他于2109年移民至SCP-5000。

Interviewer: Junior Researcher Sofia Ramirez
采访者:次级研究员索菲亚·拉米雷兹

Location: Dragoman Tavern
地点:领航人酒馆

Date: 29/11/2524
日期:29/11/2524

<Begin Log>
<开始记录>

Ramirez is sitting in the main room of the tavern, at a table by a window. She has just switched on a recording device and placed it in front of her. A tall, burly man with a thick beard - Osmanoglu - is sitting opposite her. Snow can be seen passing by the window. There is a lit fireplace behind Osmanoglu.
拉米雷兹坐在酒馆大堂靠窗的桌子边,她刚刚打开记录设备并将它放在自己面前。她对面坐着高大魁梧、满脸胡须的奥斯曼。窗外飘着雪花,奥斯曼背后的炉火正在燃烧。

Ramirez: Thank you for agreeing to this interview, Sergei.
拉米雷兹:感谢您同意接受采访,谢尔盖。

Osmanoglu: It's not a problem. I've got time. And you pay the rent on time.
奥斯曼:小事一桩,我有的是时间,而你也一直按时交租。

Ramirez: I - ok… When did you first arrive in SC- er, when did you first arrive in Lamplight?
拉米雷兹:我……好吧,你是什么时候来到SC——我是说,你是什么时候来到孤灯的?

Osmanoglu: 2109, I think. It was a long time ago.
奥斯曼:我记得是2109年,那可是很久之前了。

Ramirez: What was the town like then?
拉米雷兹:当时这个镇子是什么样?

Osmanoglu: Small. Cold. Fewer buildings, fewer lamps, less snow.
奥斯曼:当时它又冷又不起眼,没这么多建筑、没这么多灯光、也没这么多雪。

Ramirez: Yes, I wanted to ask about that - how is there sn-
拉米雷兹:是的,我正想问这件事来着,这些雪是——

Osmanoglu: But it was better back then. Delacroix was there. People said he'd founded the place, but I couldn't understand how they could think that.
奥斯曼:但那时比现在更好。那时德拉克洛瓦还在这里,人们说他建立了这片空间,可我不明白为什么他们会这么想。

Ramirez: What do you mean?
拉米雷兹:你的意思是?

Osmanoglu: He didn't have energy. No spark. He'd spend all his time staring out there, into the dark.
奥斯曼:当时的他已丧失了生活的动力与激情的火花,他唯一会做的事情只是坐在那里凝望着外面的黑暗。

Osmanoglu gestures towards the window; the darkness of the non-matter is visible outside.
奥斯曼指向窗子,窗外可看到非物质的黑暗。

Osmanoglu: This place wasn't meant for us.
奥斯曼:这片空间不是为我们准备的。

Ramirez: You can't know that for sure. The soil here is so perfectly suited to supporting human life.
拉米雷兹:你为什么说的这么确定?这里的土地很适合维持人类生存不是吗?

Osmanoglu: You don't make a place for people with that thing suspended over it. You'd build a sun or stars, not a pallid half-moon. There are no places for humans this far out.
奥斯曼:你是不会在那玩意正下方为人类准备一片空间的。人类需要的是太阳与群星,不是苍白的半月。这片偏远之地没有为人类准备的空间。

Ramirez: Other civilisations got close. Sriska, Harkhret -
拉米雷兹:这附近有其他文明,比如斯利斯卡、哈克雷特——

Osmanoglu: They weren't humans. Wrong cluster. And if they did make this place, and I doubt it, then they are long gone now. Nothing but their dust and their Lamp left over.
奥斯曼:它们不是人类,它们来自错误的宙群。就算这片空间真是他们创造的,那也是很久很久之前的事了。他们留下的只有脚下遍地荒尘与头顶一盏孤灯。

Ramirez: So - what did Delacroix do?
拉米雷兹:那,德拉克洛瓦做了什么?

Osmanoglu is silent for some time.
奥斯曼沉默了片刻。

Osmanoglu: He had a girl, and it went sour. So he came here to start something new, something great. But the only ones entranced by his mad designs were the same old crowd of poets, all talking about the great utopia they'd build here. Another society of true freedom to escape the horrors of the dozen others they'd made. But they didn't want to do the hard graft or come down from their Bohemian bubbles, so it was all talk. Shooting shit in taverns like this one. I'm the only one left now.
奥斯曼:他曾经有一个属于他的姑娘,但又失去了她。于是他来到这里,想创造一些全新而伟大的事物。可沉迷于他那疯狂的设计的只有一群和他一样衰老无力的诗人。他们谈论即将建造的乌托邦,谈论一个真正自由的社会,谈论如何逃离其它由他们创造的世界所带来的恐怖。可他们不肯脚踏实地披荆斩棘,更不肯走出他们那华丽但不切实际的泡沫。因此他们所能做的只有在像这里一样的酒馆中终日夸夸其谈而已。而我,是他们当中唯一一个还留在这里的了。

Osmanoglu takes a sip of beer.
奥斯曼抿了一口啤酒。

Osmanoglu: Delacroix, though, he was smart. He could see this. First time I saw him he'd been here two years, and the absinthe had reached his eyes. He saw that all he'd done was make more meaningless ego. But I think… I think part of him loved the misery he felt. He wrote his best poems here, everyone says so. About the dark as a mirror, and about - about other stuff. You've read him?
奥斯曼:德拉克洛瓦是个聪明人,他意识到了这些。我第一次见到他时他已经来过这里两年了,当时他已经沉浸于苦艾酒之中,因为他意识到自己的所作所为使自己变得愈发毫无意义。可我想……我想他的一部分喜欢他所经历的痛苦。所有人都说他在这里写下了他最好的诗,那些诗将黑暗视作镜子,以及——以及其他一些东西。 你读过他的作品吗?

Ramirez: Not yet, no - hard to get a copy in Sol.
拉米雷兹:没读过,还没。在太阳系宇宙很少见到他的作品。

Osmanoglu: You're the next universe over! Should be easy. On Orchard, you can find him anywhere. Not so much here. People don't like to remember him here.
奥斯曼:你们可是最近的宇宙,应该很容易找到他的作品的!果园宇宙到处都能看到他,但在这里不常见,这里的人不喜欢铭记他。

Ramirez: Why not?
拉米雷兹:为什么?

Osmanoglu: Because he talked truths the poets don't want to hear. Or because we all know what happened to him. Oh, there are those who say he went back to Orchard, but any true Lamplighter knows that he stepped into the night. "The night does not give such easy answers", he used to say. I would just pat him on the shoulder and tell him it was OK, and I… he was not a well man, Sofia. He wanted to destroy himself. And we don't like to talk about that.
奥斯曼:因为他说出了那些诗人们不想听到的真理,也因为我们知道他身上发生了什么。有些人也许会声称他回到了果园宇宙,但所有真正的孤灯居民都知道,他选择了走进黑暗。他常说“长夜沉默不语。”而我所能做的只是拍拍他的肩膀说“一切都会好起来的”,然后……索菲亚,他不是个健全人,因为他想毁灭自己,而我们都不愿谈论此事。

Ramirez: Suicide, right?
拉米雷兹:所以他自杀了?

Osmanoglu: No, more than that. I don't think he wanted to die, to end. He wanted to annihilate the idea of himself. He'd come here and order absinthe, over and over and over again, staring at the - the snow and trying to make out shapes. Then one day he was gone.
奥斯曼:不,不止是自杀。我不认为他所追求的是死亡或者终结,他所追求的是对自身价值的湮灭。他日复一日地来到这里点一杯龙舌兰然后——然后他注视着雪花,试图弄清雪花的形状。直到有一天他消失了。

Ramirez: I… I see.
拉米雷兹:我……明白了。

Osmanoglu: You should go home, Sofia. Go back to your Sol, to your Foundation. This is not a place for well people.
奥斯曼:回家吧,索菲亚。回到太阳系宇宙,回到基金会。这里不是你这样的健全人该待的地方。

Ramirez: Then why are you here?
拉米雷兹:那你为什么还待在这里?

Osmanoglu: Someone has to care for the sick. I saw you watching Kastamonu, from your window.
奥斯曼:总得有人照顾那些病人吧。我注意到你隔着窗子注视着卡斯塔莫努了。

Ramirez: I don't know wh-
拉米雷兹:你说的那是谁?

Osmanoglu: Tall man. Wore a greatcoat. You saw him, didn't you? Walking down the cobbled streets. He was a playwright, from Daevastan. Smoked those pipes, wrote with trembling hands under the gas lamps. I put the fire on and keep it warm, but he hasn't been back for days. Just walked into the smog, one foot beating a tardy march, withdrawing with the other as a faintly whistling silhouette. You saw him and said nothing. I think you are like him, in a way.
奥斯曼:就是那个穿着大衣的高个头。你一直在看着他走在鹅卵石小路上不是吗?他是个从狄瓦斯坦来的剧作家,就是那种抽着烟管,在瓦斯灯下双手颤抖着写作的作家。我为他准备了温暖明亮的炉火,可他已经几天没回来了。你看着他走进了烟雾之中,一只脚还踯躅不前犹豫退缩,另一只脚就已只剩下暗淡的剪影,可你却什么都没说。我觉得你在某种程度上很像他。

Ramirez: …That'll be all for now.
拉米雷兹:……今天就这样吧。

<End Log>
<记录结束>

2. Structure and Society by Dr. Harry Grant, Lecturer in Eastern Multiverse Studies at Kings College London.
2. 结构与社会 作者:哈利·格兰特博士,伦敦国王学院东多元宇宙域学讲师

SCP-5000 is, properly, a series of five small districts loosely gathered around a central plaza, the Woolf Square. Three of these districts were created by the various artistic groups present in SCP-5000 across the centuries and consequently reflecting their sensibilities; the other two were founded by refugee groups.
SCP-5000主要由五个小型区块组成,这五个区块围绕着中心的伍尔夫广场松散相连。其中三个区块是由数个世纪以来迁徙至SCP-5000的各种艺术家团体们建立的,同时也反应了他们的风格,另外两个区块则是由难民团体建立。

The districts are:

  • The Kievan or Victorian district was the original core of the city, founded by Jean-Antoine Delacroix in 2109. The architectural style is reminiscent of the late Dnieperian style, roughly analogous to a mixture of Victorian and Imperial Russian architecture in the Sol Universe but with some oddities, such as a strict adherence to cobbled streets and the regular placement of gas lamps. The ardent romanticism of the city's founders has led to the structure of this district being deliberately disorganised. It has frequently been admired for its many communal meeting places and frequent public concerts.
  • 基辅区又称维多利亚区,由让·安东尼·德拉克洛瓦于2109年建立,是城市最初的核心。其建筑风格模仿晚期第聂伯式风格,即类似太阳系宇宙中的维多利亚式1与俄罗斯帝国式建筑2的混合,同时又带有一定特色,例如强制使用鹅卵石铺制的街道、有规律排布的煤气灯等。 由于创始人热情洋溢的浪漫主义,该地区的结构被故意设计得混乱无序。 基辅区因其众多的公共聚会场所和频繁的公共音乐会而广受赞誉。
  • The Aetherium district was created during the Cyberpunk Revival of the 2350s, a response to the horrors of the Burnt Apple War that caused severe destruction to the Orchard Universe's Earth. The Cyberpunk Revival was marked by a deep cynicism and disillusionment with contemporary politics, reflected in an architectural style deliberately modelled on post-industrial decay and internet-based subcultures. The district is thus highly architecturally varied and was renowned for its anarchist politics, which were credited with an urban and social regeneration across the settlement.
  • 神光区建立于24世纪50年代的赛博朋克复兴时代,当时,苹果灰战争对果园宇宙地球造成了严重破坏,而赛博朋克复兴应运而生。赛博朋克复兴以对当代政治的嘲弄和幻灭感为特色,其建筑风格故意模仿后工业时代的衰落和互联网亚文化。因此,该地区的建筑风格千差万别,并以其无政府主义政治而闻名,这一政治形态引领了定居点的城市和社会复兴。
  • The Giotto district was created by a group of Sol Universe artists who, in response to the Namibian Crisis of the 2390s, wanted a radical return to pre-modernity as a response to the "evils of the present". The group, vehemently opposed to all realism in art, created the district as a way to return to "a world of starker light", constructing buildings exclusively in Gothic or Romanesque church architecture and with an emphasis on stained glass's light-refracting properties. The early days of this district were marked by an ascetic, medieval morality, almost entirely absent today; the modern neighbourhood is chiefly known for its biannual passion plays and wide range of communal and charitable activities.
  • 24世纪90年代,纳米比亚危机爆发,一群太阳系宇宙的艺术家试图彻底回退至前现代化时代以反抗“当代之恶”,于是建立了乔托3区以重返“充满光明的时代”。这些艺术家强烈反对艺术中的所有现实主义,仅以哥特式或罗马式教堂建筑风格建造建筑物,并着重强调了彩色玻璃的折射光特性。该地区的早期曾以苦行僧式中世纪道德为标志,但如今已近乎绝迹,现代则主要以其每两年举办一次的激情演出以及广泛的社区慈善活动而闻名。
  • The Neoclassical district was founded by refugees fleeing the Neon London in the early 25th century. Characterised by 18th century British architecture but augmented by a large number of green spaces, flowing curves and a stated desire to create "utopia", this district was rigidly and rigorously planned as an ideal community of elites. Although this project has long been abandoned, the neighbourhood has become a focal point for a great number of literary circles, with young artists frequently attending its salons and literary festivals and many patrons settling in the district.
  • 新古典主义区由25世纪初期从新伦敦逃至此地的难民们建立。新古典主义区的建筑以18世纪的英国建筑为主,同时又有着大量的绿地与流畅的曲线,表现出了强烈的塑造“乌托邦”的意愿。该地区原本经过严谨详实的规划以构建一个理想的精英社区。 尽管这一计划早已被放弃,但该社区已成为许多文学界的焦点,吸引了众多年轻艺术家来此参加沙龙和文学节,以及许多艺术赞助人来此定居。
  • The Nomad district was created by the surviving Tribes of the Many Steppes. Most of the structures here are yurts and other nomadic tents utilised by the Salome Universe's Inner Asia analogue, but at the centre of the district is a Manichean temple of particular architectural significance even beyond SCP-5000. This district is frequently engaged in housing refugees from across the multiverse, a cause that many of SCP-5000's residents involve themselves in.
  • 游牧区由众草原部族的幸存者建立。其中大多数建筑物形似莎乐美宇宙中亚地区的蒙古包和其他游牧帐篷,但该区域的中心却是一座建筑风格颇为独特的摩尼教神庙。 诺曼区经常参与收容来自全复维宙域的难民,许多SCP-5000居民也积极参与其中。

Despite many historical differences, conflicts and disagreements between these districts are now uncommon, with the populace as a whole freely mingling. Although each district has its own celebrations, there is one major festival celebrated in SCP-5000 by the populace as a whole: the "Parade of Candles" or "Chrizmata", held once a year on a day roughly analogous to midwinter in the northern hemisphere of the Orchard Universe's Earth. A description of this festival by Junior Researcher Ramirez can be found below.
尽管历史背景差异颇大,但如今各区之间鲜有冲突和分歧,各区居民自由地融合在一起。每个地区都有自己的庆祝活动,但全体SCP-5000居民都会庆祝同一个重大节日:“蜡烛游行”,又称“圣烛日”,该节日每年举办一次,其日期为果园宇宙地球北半球的冬至日左右。 以下是初级研究员拉米雷兹对该节日的描述。

The festival's proceedings begin at what would be 6AM in the Orchard Universe's Kiev, the system of timekeeping agreed upon since SCP-5000's foundation. Residents from all the districts gather in the central square to engage in a series of acrobatic performances, poetry readings, artistic displays and musical recitals.
节日流程开始于果园宇宙基辅时间早上六点,这一计时方式早在SCP-5000草创之时就已被确立。各区居民会聚集在中央广场,参加一系列的杂技表演,诗歌朗诵,艺术表演和音乐独奏会。

The artistic segments of the community essentially use this event to promote and discuss their various works, while the rest of the populace treats them as a form of entertainment. It is notable that while many of these works use the surrounding dark as their subject matter, it is rare to hear discussion of the darkness, both during the festival and outside it.
社区中的艺术家会通过这次活动来宣传和讨论他们的作品,而其他人则将其视作一种娱乐形式。 尽管其中许多作品会以周围的黑暗为主题,但不管在节日期间还是平日都鲜有关于黑暗的讨论。

This activity continues for several hours while the owners of the local taverns begin the task traditionally incumbent on them: constructing a large pyre in the centre of the square. The resulting structure is enormous, but due to the prevalence of fog and snow in SCP-5000, it is frequently unusable as a pyre. In these cases, the populace simply links arms and dances around the structure, before returning to their various homes and cooking an evening feast.
庆祝活动会持续数个小时,与此同时,当地小酒馆的经营者们则会进行一项传统活动:在广场的中心建造一个巨型柴堆。 柴堆的火焰非常旺盛,但由于SCP-5000中经常起雾或下雪,因此堆好的巨型柴堆经常无法点燃。若无法点燃柴堆,居民们就会围绕着柴堆手挽手跳舞,然后返回各自家中准备晚餐。

If the pyre does catch light, however, then tables will be set up surrounding the fire and a shared feast will take place in the square. The food here is a mixture of plants grown in the expanse-substance as well as imported food, which makes up the vast majority of the food consumed in SCP-5000. A great many Kievan and Strathclyde delicacies can be found from the Orchard Universe as well as Malted Saloons from the Salome Universe, a delicacy brought by the tribal refugees that has proved surprisingly popular in the town.
而如果柴堆顺利点燃,人们就会在火边摆上桌子,开始一场共享盛宴。人们所吃的食物既有在地表物质中种植的农作物,也有作为平日主要食物来源的进口食物,例如果园宇宙中的基辅与斯克莱德美食,还有部落难民带来的莎乐美宇宙式麦芽酒。这种美酒饱受居民欢迎。

After the meal, candles are brought out for the populace to light from the pyre. It will usually be burning much lower at this stage, and is ordinarily safe to approach. Having lit their candles, the populace begins to wander, individually and haphazardly, towards the edges of SCP-5000-1's light range. They will spread themselves out at a safe distance behind the edge of the circle and, holding their candles aloft, begin to sing several hymns in succession. The year's hymns are voted on during a town meeting; they are primarily from the Orchard Universe, but some Sol and Salome songs are sung. There is also usually a reconstructed Sriskan song added as part of the continuing superstition that the Sriskans created SCP-5000-1.
盛宴结束后,柴堆的火苗也已微弱到可以安全接近的程度。人们就会用柴堆将蜡烛点燃,然后拿着点燃的蜡烛各自向SCP-5000-1的光照边缘随意漫步走去,最终在尽可能靠近边缘处停下,举起蜡烛齐唱赞美诗。每年所唱的赞美诗由镇议会开会决定:它们通常为果园宇宙中的赞美诗,也有一些来自太阳系宇宙和莎乐美宇宙,通常还会有一首改编过的斯利斯坎歌曲,以纪念斯利斯坎人创造了SCP-5000-1的传说。

The singing is not impressive, as one would expect from hundreds of people spread out across a very large distance and with little training. Other observers have called the effect charming; it seems to me to be reflective of the almost monomaniac obsession that the denizens have with the light and the fire motif, present in so many artistic works and important to their conversation and culture. It is a bizarre and disturbing fact that so many travel to understand or be inspired by SCP-5000's non-material location but end up ardently embracing the familiar trappings of home.
自然,几百个未经训练的人相隔甚远进行的合唱是不可能令人印象深刻的。有些观察者也许会认为这种效果很迷人,而在我看来,这更多的表现了当地居民对灯与火这一主题的近乎狂热的痴迷。这种痴迷在各种艺术作品中非常常见,也是本地人的交流与文化的重要组成部分。让人感到惊异甚至不安的是,人们经历了如此漫长的旅行来到这里,试图从SCP-5000所在的非物质环境中寻求灵感与感悟,但最终却还是选择投身于形似家宅的囚笼。

3. Culture by Pierre Rachmaninoff, Reader in Literary History at the University of Old Kiev.
3. 文化作者:旧基辅大学文学史准教授皮埃尔·拉赫马尼诺夫。

SCP-5000's place in the canon of multiversal literature, art and music is regarded as highly significant. Its importance to the Orchard Universe's Cyberpunk Revival is well-documented, as is that movement's impact on the culture of multiple universal clusters. Perhaps less well known is the sheer scale of artistic figures who have lived in or been inspired by SCP-5000.
SCP-5000在多元宇宙的文学、艺术与音乐史中的地位是不言自明的。它对果园宇宙的赛博朋克文艺复兴的重要影响已被载入史册,这一运动随后也影响了其它数个宙群的文化。而尽管没那么广为人知,曾在SCP-5000中生活或是受到其启发的艺术家的数量也是颇为惊人的。

The Dragoman, Firefall and Old Sriska taverns have all seen the formation of a number of significant literary circles. The renowned 22nd century poet Fernand Borges was deeply affected by SCP-5000, writing his famous poem "The Hearth of Baudelaire", a Ulysses-like attempt to portray the common life of the city's inhabitants as a large-scale epic. Martha Vintage's historical novels, all concerned with Sriskan and Harkhretian familes settling on the edges of space, are thought to have been inspired by her stay at the Firefall. But the most famous literary resident is still Delacroix, whose influence over the writing of the whole of the Western Universal Sectors is incalcuable.
领航人、流火和老斯利斯坎等小酒馆见证了许多重要文学流派的诞生。 著名的22世纪诗人费尔南德·博尔赫斯在SCP-5000的影响下创作了的著名的《波德莱尔之炉》,在这部尤利西斯4式的作品中,博尔赫斯尝试将这座城市居民的日常生活描绘成一场波澜壮阔的史诗。玛莎·温廷治则从自己在流火停留的经历中获得灵感,创作了数部描述居住在边缘的斯利斯坎人和哈克雷特人家族的历史小说。 但其中最著名的文学家仍数德拉克洛瓦,他对整个西部宙群文学的影响不可估量。

The unique "moonlight" effect of SCP-5000-1 and the sense of community in the settlement have been portrayed numerous times in the visual arts. The Franco-Salomin panters Claude Karakorum, Mohammed Watteau and Fransisco de Shiraz were both drawn to SCP-5000, with Karakorum's piece Delacroix's Bedchamber being among the most famous artworks of the Western Sector. The musical influence is less easy to trace, but a great many noted composers have made visits. Marius Konigsberg's "Chrizmata" Symphony and the "Cheer and Frost" heptet were both composed during his stay in SCP-5000.
SCP-5000-1独特的“月光”效应和社区氛围也是视觉艺术中的常见题材。克劳德·哈拉和林、默罕默德·华劳、弗朗西斯科·德·设拉子等法兰克-莎乐美画家都曾被SCP-5000所吸引,哈拉和林创作的名画《德拉克洛瓦的寝室》更是西部宙群最著名的艺术作品之一。SCP-5000对音乐创作的影响不那么容易追溯,但众多著名的作曲家都曾造访过SCP-5000。马吕斯·柯尼斯堡就曾在SCP-5000停留期间创作了“圣烛日”交响曲与“欢愉与迷雾”七重奏。

It is notable that the pieces of temporary visitors or recent immigrants to SCP-5000 are almost invariably focused on the non-matter surrounding the settlement, while those of long-term residents are often fixated on community, light and sensual pleasures. Various explanations have been given for this disparity in subject matter. Many short-term residents state that they came to SCP-5000 expressly to see the non-matter and that anything else is simply a distraction, deterring from a proper exploration of the location's "mystery". Longer-term inhabitants often talk about the pointlessness of examining the non-matter or believe SCP-5000's purpose is to act as a beacon against nonexistence. The unexplained weather conditions in the settlement are never mentioned (with a single exception discussed in Dr. Franklin's essay below).
值得注意的是,SCP-5000的临时访客或新移民在创作时几乎总是将注意力集中在定居点周围的非物质上,而长期居民则更重视社区,光线和感官享受。 这种创作主题上差异存在多种解释。 许多短期居民表示,他们来到SCP-5000点唯一目的就是观察非物质,其他事物都只是在分散他们注意力,妨碍他们探索此地的“神秘”。而那些长期居住者则常常质疑研究非物质的意义,或者认为SCP-5000的存在价值就是充当不存在之物的信标。但定居点中无法解释的天气情况却极少被提及(下方富兰克林博士的论文中出现了一个例外)。

The following is an interview between Researcher Ramirez and the famed Sol Universe poet Juan Lumiere, who settled permanently in the town in 2276. It is included here to give a sense of the perspective of many longer-term inhabitants of SCP-5000.
以下是研究员拉米雷兹对著名的太阳系宇宙诗人胡安·卢米埃的访谈,后者于2276年起永久定居在该镇。此访谈可为许多SCP-5000长期居民的思维方式提供一个案例。

Interviewer: Junior Researcher Sofia Ramirez
采访者:初级研究员索菲亚·拉米雷兹

Location: Outside the Firefall Tavern
地点:流火酒馆外

Date: 12/12/2524
日期:12/12/2524

<Begin Log>
<开始记录>

Junior Researcher Ramirez is walking towards the back entrance of the Firefall Tavern, which opens onto a wide cobbled street on a slight incline. Fog can be seen all around, obscuring the rest of the street. The sounds of revelry coming from inside the Firefall can be heard.
初级研究员拉米雷兹走向流火酒馆的后门,这家酒馆对着一条宽阔而微微倾斜的鹅卵石街道。周围弥漫着浓雾,景象十分模糊。 流火酒馆之中传来狂欢的声音。

A man in his 30s, wearing a long thick greatcoat, is smoking a cigarillo outside the entrance. Ramirez approaches him.
一个身着一件又长又厚的大衣、三十多岁的男子正站在门口抽雪茄。拉米雷兹向他走去。

Ramirez: H-hello? Juan Lumiere?
拉米雷兹:您好?是胡安·卢米埃先生吗?

Lumiere: The very same. You're that Foundation girl, aren't you? Staying at the Dragoman?
卢米埃:差不多吧,你就是那个住在领航人酒馆的基金会女孩吧?

Ramirez: Junior Researcher Sofia Ramirez.
拉米雷兹:没错,初级研究员索菲亚·拉米雷兹。

Lumiere: A lovely name. I can only presume, given that recording device on your shoulder, that you have come to interview me.
卢米埃:这名字真可爱。既然你扛着那台记录设备来找我,想必是来采访我的吧。

Ramirez: If we could step insi-
拉米雷兹:没错,让我们进——

Lumiere: I prefer to stand out here. They are bright and merry in there. I'll wait until the fire is lower and the company more selective. Let the young have their fun.
卢米埃:不,我更宁愿站着这里,等到炉火低垂之后再进去。让里面的年轻人尽情享受光明和舒适吧,他们不是我的菜。

Ramirez: How old are you?
拉米雷兹:能问一下您的年纪吗?

Lumiere: Two hundred and seventy-eight. Don't look it, do I? The perks of this city. I've aged 6 years in the time I've been here, by my count. But nobody ever comes here for eternal life.
卢米埃:两百七十八岁,拜这座城市所赐,我看起来要年轻多了。如果我没记错,我来到这里之后才老了六岁,不过没人来这里是追求永生的。

Ramirez: I've been wondering about that.
拉米雷兹:我很怀疑这点。

Lumiere: It's because it doesn't feel as it's meant to. You don't feel like you're living longer, just that those years have been spread out longer. Like skin stretched over a drum. You never develop properly.
卢米埃:因为在这里的时间流逝感也不一样,你不会觉得自己活的更久,只会觉得时间走得更慢,就像是鼓面上被撑开的蒙皮一样。在这里的生活毫无意义。

Ramirez: Your writing has.
拉米雷兹:可您的作品有意义。

Lumiere: I didn't think anyone in Sol had ever heard of me.
卢米埃:我不认为我的名声能传播到太阳系宇宙。

Ramirez: It - well, if I'm honest, it was your work that first drew me here. You're unusual. Your later stuff talks about fire and light, but with much more craft than most of the other long-termers.
拉米雷兹:不,老实说,是您的作品和才能把我吸引过来的。您后期的作品同样描述火与光,却比其他长期居民的作品更具匠心。

Lumiere: You like the newer ones, then?
卢米埃:那你喜欢我的后期作品吗?

Ramirez: I - I do quite like them.
拉米雷兹:我,对,我喜欢它们。

Lumiere: But you like the earlier ones more.
卢米埃:可你更喜欢那些早期作品。

Lumiere sighs, and stubs out his cigarillo.
卢米埃叹了口气,踩熄了雪茄。

Lumiere: Everyone likes the early ones more. They don't understand why someone would come to Lamplight just to write about the things in their own lives. To them, in their Kievan salons, this place is just the wild frontier, the mystery beyond mysteries, the edge of all creation. They want something wild, not something homespun.
卢米埃:大家都更喜欢我的早期作品。他们不明白为什么我跑到孤灯之后却还在描写他们日常生活中的事物。对那些安安稳稳地坐在基辅的沙龙中的人来说,孤灯不过是蛮荒的边境、是神秘的边际、是万物的边疆。他们想看的是蛮荒而非日常。

Ramirez: Isn't that natural?
拉米雷兹:这不是很正常吗?

Lumiere narrows his eyes, thrusting his hands into the pockets of his coat.
卢米埃睁大眼睛,把手插进大衣口袋里。

Lumiere: Do you write, at all? Compose?
卢米埃:你有过写作或是作曲的经验吗?

Ramirez: I - I play a little violin. I write some stuff in my spare time.
拉米雷兹:我会拉一点小提琴,闲暇时还写点东西。

Lumiere: But that's not why you came here. You came here to solve its mysteries.
卢米埃:但你来这里是为了解谜的,不是为了创作的。

Ramirez: It has so many.
拉米雷兹:这里要解开的谜团太多了。

Lumiere: You're barking up the wrong tree, girl. You won't solve anything. You should go inside.
卢米埃:那你这是在缘木求鱼,姑娘。你在这里什么都得不到,还不如到酒馆里去呢。

Ramirez: I'm fine. I'm not here to party.
拉米雷兹:多谢关心,我来这里不是来狂欢的。

Lumiere: Then there's your mistake. I've seen so many like you come through here. You've read Delacroix?
卢米埃:那你就搞错了,不过我见到过许多和你一样来到这里然后认清真相的人,你读过德拉克洛瓦的作品吗?

Ramirez: I recently acquired a copy. I haven't read much yet, though.
拉米雷兹:我最近弄到了一本抄本,但还没怎么读。

Lumiere: It's his last poem that, if not understood, then at least got some glimpse of this place. Rough, almost like a regression into juvenilia, but the only thing he wrote that really threw a light on the bright young things that come here, full of opium and dreams. You think people come here to see the dark? They come here because they think they should. They think inspiration is full of the external, the depths of the human soul, the ravaged passions of the age. It's not. Inspiration is the dust on a wainscot and the smell of barley, the warmth of heaths, th-
卢米埃:在他的最后一首诗中,他理解了,或者说起码是瞥见了这个地方的本质。他的作品粗糙而单纯,简直就像是少儿读物,但对那些带着满脑子幻梦与鸦片酊来到这里的那些叽叽喳喳的年轻人而言,却不啻于一记当头棒喝。你以为人们是来这里面对黑暗的吗?错了,他们来这里的唯一理由只是因为他们认为自己应当来这里。他们以为灵感来自于格物的求索、来自于灵魂的深处、来自于岁月的狂躁,可他们错了,灵感来自于壁板上的浮尘、来自于大麦中的清香,来自于炉火中的温暖,来自于——

Ramirez: There is an infinite dark outside, a light that should not exist above. Why should I come here to play the fool? This town should not exist-
拉米雷兹:但这外面只有无尽的黑暗与本不应存在的光亮,我为什么要来这里装疯卖傻?这镇子根本不应该存在!

Lumiere: It was always going to exist. This place was inevitable.
卢米埃:可它永远都存在,它必然会存在。

Ramirez: What does that mean?
拉米雷兹:什么意思?

Lumiere: Why did you not help Kastomonu?
卢米埃:你为什么不去帮助卡斯塔莫努?

There is a pause of several seconds.
数秒的沉默。

Lumiere: You drink, same as me and the rest. But you drink ice-cold gin in the silence of your room. You spend hour after hour puzzling, typing, working through things. I see you in your window, staring out at the night. And you watched as Kastomonu just marched himself off into the night, because you felt the same things he felt.
卢米埃:你跟我们一样都喝醉了。只不过是在你那寂静的小屋中独饮冰杜松子酒而已。你花了一个又一个小时去解密、分类和研究。然后我在窗外看见你凝视着夜色,凝视着卡斯塔莫努像黑夜中走去,只因你与他感同身受。

Ramirez: W-why do you -
拉米雷兹:你为什么看——

Lumiere: Because I've seen you before, a thousand times. The artist falling on his paintbrush as a sword. The writer who sees God in a grain of darkness. Sometimes I stop them, but mostly they ignore me. The wisdom of youth, and all that. One fine day they'll walk into the night, into the echo chamber of compounded mystery. Never understanding that we built this place to be a beacon against it, the inevitable human sigh of defiance in the night.
卢米埃:因为我之前曾见过你,曾成千上百次的见过与你一样的人,见过那些用画笔自刎的艺术家,见过那些在不起眼的黑暗中蒙神感召的作家。有时我会试着阻止他们,但他们通常都会凭着自己那天真的智慧无视我。然后有一天他们就会步入黑暗之中,步入那神秘的回声室中。他们不明白,我们建造这里正是为了建造一盏驱散黑暗的灯塔,而这座灯塔正是人们面对黑夜时所必需的一声叹息。

Lumiere buttons up his jacket, and begins to walk away.
卢米埃扣上大衣准备离开。

Ramirez: Where are you going? I'm not done with you yet!
拉米雷兹:你要去哪?我还没采访完呢。

Lumiere: Go to the fires, Junior Researcher Sofia Ramirez. Get a shorter name. Because you'll learn one way or the other that there is nothing out there.
卢米埃:我要去烤烤火,初级研究员索菲亚·拉米雷兹。换个简短点的称呼吧,早晚有一天你会明白的,外面什么都没有

Lumiere down the street and into the fog, whistling the Blue Danube Waltz. Ramirez stares after him for several seconds, before turning her camera off.
卢米埃哼着《蓝色多瑙河》,沿着街走进雾中,拉米雷兹注视着他,数秒之后关闭了摄影机。

<End Log>
<记录结束>

4. Psychological Impact by Dr. Hans Freiburg, Level 3 Foundation Psychologist.
4. 心理影响 作者:汉斯·弗莱堡博士,基金会三级心理学家

The emotional and psychological effect SCP-5000 has on a large proportion of its residents is particularly noteworthy. A minimum of 14 disappearances have been recorded in the town in any given year. Extensive investigations by local law enforcement and Foundation researchers have determined these to be almost entirely suicides.
值得注意的是,SCP-5000会对大部分居民的情感和心理产生影响。该镇每年都会发生至少14起记录在案的失踪事件。 根据当地执法部门和基金会研究人员的调查,这些事件几乎全部是自杀。

The reasons for this disappearance rate in a town of SCP-5000's size, with its generally high standards of living, are not wholly clear. The psychological effects of a lack of sunlight or a relatively unvaried diet have been considered, as has the sheer danger of an unpredictable light source, but the most interesting evidence is that the overwhelming majority of the disappearances come from artists, writers and particularly academics who have been been resident in the town for less than a year.
目前尚不清楚为何以SCP-5000的规模和高生活水平,会有如此高的失踪率。 可能的原因包括缺乏阳光或饮食相对不变造成的心理影响,以及无法预测的光源造成的危险,有趣的是,绝大部分失踪人员都是艺术家、作家以及在该镇居住不满一年的学者。

These residents often display similar patterns of behaviour in the weeks prior to their disappearance: an obsession with the non-matter surrounding the town, an increasing dependence on narcotics, and a greatly increased output but diminished quality of work. Many townspeople attempt to intervene, but to little avail; affected individuals are likely to become increasingly isolated and aggressive towards others.
这些居民在失踪前的几周内通常表现出类似的行为方式:对城镇周围的非物质的痴迷,对麻醉品的依赖日益增加,产出大大增加但工作质量下降。许多镇民试图干预但收效甚微,受影响的个体可能变得越来越孤立且具有侵略性。

4 Foundation personnel are known to have disappeared in SCP-5000 since the Sarai Treaty was signed, all apparently committing suicide via non-matter. Although a cause of concern for Foundation personnel, the unavoidably limited nature of mental health provision within the Foundation has meant that this situation is difficult to overcome.
自萨莱条约签署之后,已有4名基金会员工在SCP-5000中失踪,均已被判明是通过非物质自杀。尽管这引起基金会人员的关注,但由于基金会所能提供的精神卫生服务不可避免地受到限制,这一情况依然难以克服。

For an example of some of the concerns typically raised with the Foundation's psychiatric unit, the following is an extract from Director Franklin's report of a check-in with Junior Researcher Ramirez in December 2524.
以下案例描述了基金会精神病学部门通常会担心的一些问题,摘录自富兰克林主任对初级研究员拉米雷兹于2524年12月的签到的记录。

After the meal, Dr. Ramirez took me to her rooms to show me some of her initial findings. By this point, I had noticed several things that concerned me. Having known Dr. Ramirez for several years, her voice seemed markedly more strained than usual. She also seemed nervous and was sweating profusely. Several times I thought I smelled alcohol on her breath.
饭后,拉米雷兹博士将我带到她的房间,向我展示了她的一些初步发现。此时我注意到了一些不同寻常之事。我已经认识了拉米雷兹博士好几年,可她的声音似乎比平时更加焦虑。 她显得紧张多汗,我似乎还在她的呼吸中闻到了酒精的味道。

Her "rooms" turned out to be a single cheap bedchamber on the Tavern's top floor. There was little heating and no light, the window opening out of the Giotto district. I asked her why she had chosen this room when we had allotted her a generous allowance; she replied that the rooms on lower floors were "too noisy" and that she needed quiet to work. I thought this plausible at the time - SCP-5000's taverns are not known for being serene places of study - but on further reflection I remembered that two previous researchers, Kobold and MacBride, had similarly changed their accomodation. Both had to be pulled out of SCP-5000, and both had developed the notion that a higher room would take them closer to the "source" of the town's non-matter, a curious piece of unscientific superstition.
她的“房间”是酒馆顶楼的一个便宜的单人房。窗子正对着乔托区打开,供暖不足也缺乏光照。 我问她为何她拿着丰厚的津贴却选择这样房间。她则回答说她需要安静地工作,低层的房间“太吵了”。 我当时认为这很合理——SCP-5000的小酒馆并不适合安静的学习工作。但后来我才想起来,科伯德和麦克布利德在被强制撤离SCP-5000之前都改变了他们的住宿方式,且他们都认为一个更高的房间可以使他们更接近小镇中非物质的“来源”,而这一说法毫无科学依据。

I noticed also that, although the bedchamber appeared to be in an orderly condition, there was a sheen of dust across many of the surfaces and a couple of tell-tale signs were visible that indicated a lot of tidying in a very short amount of time. The bed did not look like it had been slept in. Several fiction books, also coated in dust, were lying on the shelves. Only the poetry of Delacroix and two of Lumiere's novels seemed to have been read at all. There was a half-empty bottle of gin on the mantlepiece, which Ramirez quickly noticed and binned in a half-hearted attempt at subterfuge.
我还注意到,尽管该寝室看起来井井有条,但是许多地方上都有一层灰尘,并且有被快速整理过的痕迹。床看起来好像没有被睡过。架子上放着的几本小说也满是灰尘。其中似乎只有德拉克洛瓦的诗歌和卢米埃尔的两本小说被读过。 壁炉架上有一瓶半空的杜松子酒,不过拉米雷兹很快就注意到了,并装作顺手把它收了起来。

Her notes - written by hand - were surprisingly rough. She seemed to only use her digitop for forwarding her data to us. The haphazard organisation went some way towards explaining the decreased quality of her work, but the odd breaks in writing tone and lack professionalism in interviews still had to be answered for. By this point, I was regretted letting other projects take my attention away from SCP-5000. I sent Sofia here because of her well-demonstrated resilience and reliability, thinking I could leave the town's research in safe hands. Howver, it has become abundantly clear that the effects this place has on the human psyche are not so easily predictable.
她的手写笔记潦草无比,而她的数字电脑的唯一用处就是将数据转发给我们。这种无条理的工作方式解释了为何她的工作效率下降,但却不能解释为何她的文字记录时断时续,采访时也缺乏专业性。此时我很遗憾我的注意力被其它项目吸引而从SCP-5000上移开。 我相信索菲亚的应变能力与可靠,于是将她送到这里,一位这样将镇上的研究工作交给能令人放心的人。可很明显,这个地方对人类心理的影响不是那么容易预测的。

I asked a few gentle questions about her life here - had she been blending in, was she enjoying the local culture - and it did not take long for her to become paranoid and resentful of my presence. She openly mocked the townspeople for being "rural", believing their cultural traditions and community were "worthless" in the context of their surroundings. She lamented their lack of curiousity in SCP-5000-1, the expanse and the surrounding non-matter. To my surprise, she also displayed little interest in Lumiere's writings, something which had previously been a passion of hers, and actively disdained Delacroix, calling his last poem "irredeemable shit that understands nothing."
我随便问了一些关于她在这里生活的问题,诸如她是否融入其中啦,是否喜欢当地的文化啦。而她很快就对我的存在产生了偏执和怨恨。 她公开嘲笑镇民们是“穷鬼”,并认为他们的文化传统和社区和周围环境相比“毫无价值”。 她感叹他们对SCP-5000-1、类地物体和周围的非物质缺乏好奇心。令我惊讶的是,她对卢米埃的作品显得毫无兴趣,可以前她热爱卢米埃的作品,而厌恶德拉克洛瓦的,且称他的最后一首诗“是毫无意义不知所云的垃圾”。

The true nature of her interests rapidly became apparent. She had devised a schema, based on the angles of SCP-5000-1's light, to find a location where the bizarre laws of physics would allow someone to see the entirety of the expanse which SCP-5000 rests upon. She had done an extraordinarily amount of research, pinpointing this supposed location to the exact spot and designing a craft she believed would safely transport people to and from this place. It was madness, and I told her as much. This "location" was so far out that no craft, however well-designed, could keep its occupants alive for the return journey. She did not want to hear this, and it became clear that she did not desire my presence any longer.
随后我发现了她真正的目的。她已经根据SCP-5000-1的光线角度设计了一个计划,以找到一个可以通过奇异的物理规律看到类地物质全貌的地点。 她进行了大量的研究以定位这一地点,并设计了一种她认为可以安全地让人们往返于此地的设备。我告诉她这太疯狂了,这个“位置”太远了,不管使用什么样的设备都没法让人到达那里之后再活着返回。 可明显她不希望听这些,她甚至不希望我继续待在这里。

I did not tell her about my intention to recall her, fearing this might damage her emotional state still further. Still, it is my unambiguous recommendation that she be replaced in her post as soon as possible. SCP-5000 may not have a great deal of exploitable material within it, but we still don't fully understand the town, its mysteries, its strange lure for artists and writers or the nuances of the local culture. It is not an easy assignment, and it needs a great deal more attention than we have hitherto given it.
为了不进一步损害她的情绪状态,我没有告知她我打算召回她的事情,但我强烈建议尽快撤换。 尽管SCP-5000内可进一步调查的事物已所剩无几,但我们仍未完全了解该镇,了解它的奥秘,了解对艺术家和作家的奇特诱惑以及当地文化的细微差别。 这项工作相当艰巨,需要投入更多的关注。

5. Future Research by Director Hamish Franklin.
5. 未来研究计划 作者:项目主管哈米什·富兰克林

The result of these many aspects of SCP-5000 is that the Foundation has a number of potential research directions. While the cultural and social aspects of the town remain important (and their relation to the landscape in particular remains an unresearched area), it is the physical questions that are the most potent: the identity of SCP-5000-1's creators and their reasons for doing so, its mechanical workings, and the nature of the expanse surrounding the town.
基金会仍有许多针对SCP-5000的潜在研究方向。 尽管研究城镇的文化和社会同样很重要(尤其是它们与周边环境的关系仍待研究),但物质层面的问题仍是首要的,诸如SCP-5000-1的创造者与目的、SCP-5000-1的工作原理、城镇周围的环境等。

One final notable anomaly is the unusual weather conditions of the town. As the Orchard Universe lacks heavy snow and fog, this has often been considered one of the key attractions for the initial settlers. Its origin and source are entirely unknown, however, and very few credible theories have been produced to explain it. Originating at a point somewhere above SCP-5000-1, the snow falls regularly enough to keep the town covered in a thin layer at all times. The source of the fog is also unclear, but in both cases the weather conditions appear identical to those found in Sol and similar universes.
该镇异常的天气情况同样值得注意。通常认为SCP-5000对其最初定居者的主要吸引力之一正是果园宇宙中缺乏大雪与浓雾。但其来源仍然未知,也少有理论能做出解释。我们只知道雪花会从SCP-5000-1上方的某个地方定期落下,足以使城镇始终被薄薄的积雪覆盖,而雾的来源同样未知。但雪与雾的形态似乎都与太阳系宇宙或类似宇宙中的天气状况相同。

A related problem is near-complete absence of these conditions in any literary or artistic works. Researchers have noted that the townspeople rarely discuss it, often appearing dismissive and frightened when it is brought up. Researchers themselves have openly stated after leaving the town that the weather made them feel "uncertain" or "lost". Extensive testing has ruled out the possibility of any memetic or cognitohazardous effects.
值得注意的是,这些天气情况几乎从不在各类文学或艺术作品中出现。研究人员指出,城镇居民很少讨论天气,在提及天气时则常常显得不屑一顾或是害怕。 研究人员在离开城镇后也会公开表示天气使他们感到“不安”或“迷失”。测试表明,这些并不是模因或认知危害的作用。

As mentioned above, the only known creative work to discuss these conditions is the final poem of SCP-5000's founder, Jean-Antoine Delacroix. It is written in a much more modernist style than Delacroix's other works and does not display the same technical mastery. This may partly be attributed to its status as an unfinished work, found written on his desk the morning after his disappearance. It is reproduced in its entirety below.
如上所述,讨论天气的唯一已知的创造性著作是SCP-5000创始人让-安东尼·德拉克洛瓦的最后一首诗。 这首诗是在他失踪后第二天早晨时,在他办公桌上发现的未完成作品,与他的其他作品相比,这首诗的风格更为现代主义,文字水平也更为粗糙。全文复制如下。

Cold entrance cuts the mountain
我在群山之间挖出门扉
Where I buried you. Salt and brine,
在门扉之间将你埋葬
Whisper down the waterways of ash
海潮发出低语,余灰奔涌而下
Where you ran, laughing,
此处曾有你的欢声与舞步
That mouth-made twist turned bitter.
如今却只余我的苦涩与哀伤

Here on the edge of human eyes,
我于万物与光明之边界
I stare into the mirror of the dark;
凝视虚无与黑暗之镜
That mirror that sears my ravages of bone
镜中所映别无它物
And brings such images of the world's dismay,
唯有我与世界的残骸
Its broken, luminous char,
残缺的骨骸灼灼发光
Its dreams of all the starving artists
残破的幻梦熠熠生辉
Beavering away in opium
无数文人墨客都曾求索此梦
Or simmering soft in pain.
或诉诸阿片,或借由痛伤
Casting off the trappings of the world
我已自俗世之中挣脱
Which leaves just silence, soft and cold disdain.
俗世则以静谧苦寒回报

The hearths and songs that bleed with frail light
静夜之中唯有炉火与歌声
Have drawn to fires those who huddle tight,
如飞蛾般在残火中往生
Their raptured peasant fear
众人高唱着欢悦的曲调
Cast before the tongs in cheer. I walk,
古老的挽歌化作浓雾
A figure in the fog of old laments
独我一人在雾中漫步
Away from these twin tales
我远离不断重复的歌谣
And into the snow, into the earth,
步入飞雪与大地的怀抱
With no narratives of foes
此处即无仇敌亦无密友
Or platitudes of friends.
此间即无吟诵也无哀悼

The snow gives rot, complexity, ennui,
我向落雪发问,落雪衰败枯亡
The night does not give such easy answers.
我向长夜发问,长夜沉默不语

Addendum 1: On 31/12/2524, Junior Researcher Ramirez disappeared from her lodgings in the Dragoman Tavern. A search by townspeople and Foundation personnel found only footprints in the snow, heading towards the edge of town.
附录1: 初级研究员拉米雷兹于31/12/2524从她位于领航人酒馆的住处失踪。镇上居民和基金会工作人员进行搜索后,只发现了她留在雪地上的脚印,脚印一直通往城镇边缘。

On the evening of 01/01/2525, a signal was recieved from a temporary monitoring station set up on SCP-5000. It appeared to show video footage from Junior Researcher Ramirez's shoulder-cam at an a point in the non-matter. Analysis of the footage showed that it had been transmitted several hours earlier from the location specified in her conversation with Director Franklin. Although it is theoretically possible for her to have made this trip unaided, she would have been close to death by the time she reached the location (as her apparent condition in the footage makes clear).
在01/01/2525的傍晚,SCP-5000内的临时监控站收到信号。信号内容上为初级研究员拉米雷兹的肩部摄像机的录像片段,而信号来源是处于非物质中的某点。 对录像的分析表明,录像发送于她到达与富兰克林主管谈话中提到的位置之前几个小时。尽管理论上她有可能独立进行这次旅行,但当她到达该地点时,她也将接近死亡(镜头中的状况也清楚的表明了这一点)。

A log of this footage is below.
该录像片段的记录如下。

<Begin Log>
<开始记录>

The camera opens on non-matter; this is rendered as a black screen. Coughing can be heard.
摄影机开启,因为被非物质包裹而黑屏,能听到咳嗽声。

Ramirez: Told you… Hamish, I told you. You stood there and you were wrong, and I was right, and… and…
拉米雷兹:哈米什……我……告诉过你了。你只会驻足不前,你是的,我是对的,还……还有……

There is heavy breathing for several seconds.
数秒的深呼吸声。

Ramirez: But you won't guess, you'll never guess…
拉米雷兹:可你不肯去猜想,你从来都不肯……

The camera turns. In the distance, SCP-5000 can be seen beneath SCP-5000-1. The light of SCP-5000-1 refracts across the non-matter in a way which shows the entirety of the expanse.
摄像机的方向调转,远处能看到被SCP-5000-1照耀着的SCP-5000。SCP-5000-1发出的光在非物质中被折射,从而映射出了地表物质的全貌。

The expanse is revealed as the corpse of an augmented Harkhretian anglerfish. Most of the body has been eroded by non-matter, but the face and jaw are clearly visible. SCP-5000-1 can be clearly seen as the esca of the fish, the "lure" anglerfish possess to attract prey to them. Its eyes, possessing a milky-white colour typical of anglerfish, are also visible.
地表物质是一只巨大的哈克雷特鮟鱇鱼遗骸。尸体的大部分已被非物质侵蚀,但脸部与下颚依然清晰可见。SCP-5000-1是鮟鱇鱼用来引诱猎物的发光器官。同时也能看到鮟鱇鱼乳白色的眼珠。

Ramirez can be heard laughing hysterically for approximately thirty seconds. This is then interrupted by coughing; blood can be seen floating in from of the camera.
拉米雷斯歇斯底里地大笑了三十秒钟。 然后被咳嗽打断; 相机中可以看到漂浮的血液。

Ramirez: That's it, isn't… isn't it? The end of the line. The puzzle-box complete. Just the dying corpse of Harkhret's pioneers.
拉米雷兹:这,这就是……就是答案了不是吗?谜底揭晓,真相大白了,这就是只哈克雷特开拓者留下的死尸而已。

There is a pause, after which sobbing can be heard.
一阵停顿之后传来了抽泣声。

Ramirez: I wonder if they died there. Or ran away, or - or found something better out here. I wonder if… if…
拉米雷兹:我想他们应该是死在这里了,或者是撤离了,或,或者是找到了更好的地方,我,我想……

Further sobbing can be heard for 12 minutes, before fading away entirely. Fog and snow can be seen approaching from the sides of the camera, gradually obscuring its field of view until it is fully obscured. The visual feed cuts out.
信号随后持续了12分钟,其中一直传来哭泣声。摄像机的边缘出现浓雾与积雪,并逐渐扩散直至将屏幕完全覆盖。可视信号随后消失。

Ramirez: (whispering) The night does not give such easy answers.
拉米雷兹:(低声)长夜沉默不语。

The audio feed cuts out.
音频信号消失。

<End Log>
<记录结束>

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