Flamingo Rising · An Audio RPG by Sardinian Imaginary Games [Audio Flux 07] 🦩

Von Nieburhstrasse zu Savignyplatz [Cities and Memory]

Dies ist eine Geschichte darüber, als Erwachsene Fahrradfahren zu lernen — und über all die Gründe, warum es so lange gedauert hat. Über eine Kindheit in Sardinien, wo Fahrräder für Jungs waren. Über eine geborgene Gasse und meinen Freund Giuseppe. Von Niebuhrstrasse to Savignyplatz ist ein kurzes Audiostück für alle, die jemals etwas spät lernen mussten — und es alleine lernen mussten. Entstanden für das Cities and Memory Spring Project 2026 [https://map.citiesandmemory.com/maps/point/3779]. Es gibt noch einen kleinen Epilog zur Geschichte: Der Grund, warum ich mich zwang, Fahrradfahren zu lernen, war, dass ich einige Monate später eine lange Fahrradreise antreten würde — von Berlin nach Istanbul. Hier könnt ihr die ganze Geschichte lesen. [https://www.cristinamarras.com/article/99-koga-miyata]

Lagoon [Columbia Radio Race] 🦩

The salt is blinding. The provisions are half gone. There is no turning back. Lagoon picks up where Bitter Water [https://wrongplaces.transistor.fm/episodes/bitter-water-water-library] ends: the vault is behind her, the liquid expanse is ahead, and the white formations on the horizon may or may not be what the Elders described. The surface is hostile: quicksand beneath the salt crust, acid water, beasts adapted to sulfureous ponds. She keeps moving. Above the white formations, the sky is doing something she has no word for. The Elders said the phoenicotterius stood still as statues in the Molentargius Lagoon, long necks bent to the water. So beautiful you felt a shiver in your bones. She needs to feel that shiver. Lagoon is a solo voice, created, spoken, produced, edited and mixed by M. Cristina Marras for the Columbia Radio Race. Flamingo Lore * Flamingo Rising · An Audio RPG by Sardinian Imaginary Games  [https://www.cristinamarras.com/article/225-flamingo-rising-an-audio-rpg-by-sardinian-imaginary-games-audio-flux-07] * Bitter Water [https://wrongplaces.transistor.fm/episodes/bitter-water-water-library] Flamingo Lore is an ongoing body of work set in a dystopian Sardinia where the surface is salt, acid water, and UV, and humans live underground. The world is consistent across pieces, but each work is an independent entry point, a different voice, a different moment in the same collapsed future. Across the work, flamingos shift roles: they appear as myth and salvation, as creatures of impossible beauty the survivors risk their lives to find, and (in other corners of the universe) as rulers and torturers in an improbable RPG, wielding power over what remains of human life. I have always been fascinated by the apparent fragility but effective strength of flamingos, the only living creatures that can drink water close to boiling point, among other things. I live in Cagliari [https://www.sardegnaturismo.it/en/itineraries/birdwatching-kingdom-pink-flamingos], surrounded by pink flamingos.

Bitter Water [Water Library] 🦩

"Water used to have no taste. That's what the Elders say, and that's the hardest thing to believe. In a future Sardinia where every surface water is alkaline and corrosive, a young woman leaves the underground vault at dawn, before the UV peaks. She is looking for something. She has rope, smoked glass, and not much else." Bitter Water is a dystopian tale of hope and magic amidst the desolate landscape of the Molentargius Lagoon, which is said to be inhabited by monstrous beings and, perhaps, by sublime creatures as well, which could be the same being. Enter the sonic experience of a post-apocalyptic Sardinia. Created, spoken, produced, edited and mixed by M. Cristina Marras for The Water Library [https://www.wearetheprompt.com/thewaterlibrary], a storytelling project about water by Irish audio producers Zoë Comyns and Regan Hutchins. Flamingo Lore * Flamingo Rising · An Audio RPG by Sardinian Imaginary Games  [https://www.cristinamarras.com/article/225-flamingo-rising-an-audio-rpg-by-sardinian-imaginary-games-audio-flux-07] Flamingo Lore is an ongoing body of work set in a dystopian Sardinia where the surface is salt, acid water, and UV, and humans live underground. The world is consistent across pieces, but each work is an independent entry point — a different voice, a different moment in the same collapsed future. Across the work, flamingos shift roles: they appear as myth and salvation, as creatures of impossible beauty the survivors risk their lives to find, and — in other corners of the universe — as rulers and torturers in an improbable RPG, wielding power over what remains of human life. I have always been fascinated by the apparent fragility but effective strength of flamingos, the only living creatures that can drink water close to boiling point, among other things. I live in Cagliari, surrounded by pink flamingos.

Spaciada sa Bregungia (No More Shame)

Winner, HearSay International Audio Festival 2026 — Golden Prize [https://hearsayfestival.ie/] Every time I'm in the car and a flock of sheep passes in front of me, it almost feels like this is my home. That line opens Spaciada sa Bregungia. It is in Sardinian, or rather, in the Sardinian I have. Which is not the same thing. https://vimeo.com/1188793187/ebb19db4ff?fl=pl&fe=shSee below for English subtitles. Spaciada sa Bregungia opens with sheep bells, that particular, unhurried sound that in Sardinia means you are exactly where you should be. Against that texture, my voice arrives, in a language I should have grown up speaking. I didn't. I didn't grow up speaking Sardinian. My parents made a choice, a rational one, from where they stood. They believed that Italian was the language of the future, of education, of opportunity. That raising their children in Sardinian would mark us as peasants, hold us back, make us targets. They were trying to give us a better life. They were themselves products of a system that had taught them, convincingly, that their own language was an obstacle. Nobody taught me the language of my home. The one my illiterate grandmother spoke. The one I couldn't use to talk to her because I didn't understand it. My parents thought they were protecting me. They were also, without knowing it, cutting me off from my own people. That loss doesn't go away. Spaciada sa Bregungia moves from that personal wound outward, through history, through politics, through the specific and ongoing ways a land and its people get diminished. It is not a gentle piece. On the language — and the criticism. Before I released this piece, I nearly didn't. Fluent Sardinian speakers told me that releasing a piece with imperfect grammar would damage the language. That it would reflect badly. That I should perhaps not do it at all. I was stopped cold. Angry. Sad. Confused. Because the reason my Sardinian isn't perfect is exactly what the piece is about. My mother didn't teach me because she herself was a victim of the same colonial system I was speaking against. And now the gatekeepers, the vigilantes who chastise those who don't have a perfect knowledge of the language they were never taught, were telling me that the imperfection caused by that very erasure was reason enough to stay silent. That is the trap. That is how the damage perpetuates itself. I had thought about asking a friend to correct my Sardinian so it would all be grammatically sound. But then it would have been written correctly, and it would not have been me. Two good friends talked me back. I went ahead. Imperfect. Mine. What happened at HearSay. Spaciada sa Bregungia won the Golden Prize at HearSay International Audio Festival 2026. Being part of that community is a joy. But seeing this piece celebrated on an international stage is something else, it is a personal vindication. A scream of rage. Dozens of people approached me at the festival, from Ireland, from across Europe, from places that had no reason to know anything about Sardinia. They told me they had no idea. No idea about the history, the colonial relationship, the language suppression, the ongoing erasure. How Sardinian history, culture and language are still not on the school curriculum. How this is still happening now. This is also a call to action, for every Sardinian ostracised twice over: first by the erasure of their mother tongue, then by the gatekeepers of a language they were never taught. To the occupying power that still doesn't recognise our millennial past: you know what you can do with that. My Sardinian grammar may not be perfect. But in my heart I know that I made the case. I brought Sardinia onto an international stage and people heard it. Spaciada sa Bregungia. No more shame. Credits Created, spoken, produced, edited and mixed by M. Cristina Marras. Voices: Shepherd — Gianfranco Bitti; D.H. Lawrence — Romeo M. Minutolo. Murra players recorded live at the Sardinian Murra Championship, Urzulei, Sardinia. Music: Art of a Dead Man by Shadows; Under the Skin by Semo; The Fall (instrumental) by Or Chausha. All music licensed via Artlist.

Flamingo Rising · An Audio RPG by Sardinian Imaginary Games [Audio Flux 07] 🦩

Imaginary Sardinian Games presents: Flamingo Rising! An Audio RPG · Episode One: Level One A bit breathless, enthusiastic, slightly unhinged. The year is unclear. What is clear: Sardinia is salt now. The hills, the roads, the vineyards. All of it, crystallised under an indifferent sky. Overexploitation swallowed the land, and what remains is beautiful in the way that only dangerous things can be. You are Player One. Player Two didn't make it. Your quest is simple. Find drinkable water. Your boots are already dissolving. Somewhere ahead, forty-seven flamingos are waiting. "The flamingo wants a story. It wants to know: what piece of the old world did you refuse to throw away?" Flamingo Rising is a one-of-a-kind audio RPG set in a post-apocalyptic Sardinia: part game, part elegy, part fever dream. It is narrated by a GM who is doing their best under difficult circumstances. Roll for initiative. Bring something to remember. Level Two begins at the edge of what was once a vineyard. The vines are salt now. They are beautiful. Flamingo Rising. Created for Audio Flux 07, the flamingos own it now. The GM is Romeo M. Minutolo who also created the image. Story, recording and sound editing by M. Cristina Marras.