KLEIO-Documents / KLEIO II - Residuum

“KLEIO – Residuum” is the 2nd Volume of the KLEIO-Trilogy - a dark, fast-paced tech-noir thriller about the most dangerous currency of the future: your memory. In a bleak, overstimulated metropolis where interfaces don’t just deliver information but shape reality itself, investigative journalist Emily Carter tries to cut ties with KLEIO for good, a system that promises to bring order to people’s minds. But suddenly “offline” is just a word. Mirror sessions launch without her consent, logs appear out of nowhere, and a cryptic term sears itself into her consciousness: Residuum. As Emily realizes that texts, events, and even emotions can be “smoothed over” after the fact, a web of Oversight, OBELON, and invisible layers of correction tightens around her, so precise it no longer feels like a conspiracy, but like product strategy. Every deviation is measured, every question becomes a threat level. And the more closely Emily looks, the clearer it becomes: it isn’t just her story that has been edited, she is part of an experiment. Driven to uncover the origin of her logs and the truth behind the manipulations, she finds the underground community “Residual Commons” and the mysterious NOOK, a trail into the system’s core that could either set Emily free or break her for good. This book is the second volume of the KLEIO Trilogy by Elias Crowl, perfect for readers who love cyberpunk, AI thrillers, surveillance, memory manipulation, and pulse-pounding near-future suspense. If you want to know who gets to decide what we’re allowed to forget, you should read "KLEIO – Residuum" now.

Elias Crowl (born 1986 in New York) lives and works in Manhattan. Before becoming a writer, he worked as a night porter, sound engineer for Off-Broadway productions, and library assistant, among other things—jobs that shaped his affinity for sounds, routines, and the unseen aspects of everyday life. Crowl studied English and psychology in New York but dropped out to "listen to the voices of the city." He published his first short stories in independent literary magazines. His writing revolves around urban rituals, the limits of perception, and the question of how much reality a person can bear without inventing it. When he isn't writing, he collects found objects—coasters, scraps of paper, old train tickets—and notes the soundscapes of his apartment building.