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† THE GLASS FACTORY. †
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,,:-*†£&@# SEVERAL CENTURIES AFTER IT HAD LAST #@&£†*-:,,
,:-*†£&@## BELONGED TO US, WE WENT ON AN OUTING TO ##@&£†*-:,
,,:-*†£&@# THE GLASS FACTORY THAT BORE OUR FAMILY #@&£†*-:,,
,,,:-*†£&@ NAME. IT HAD CHANGED OWNERS MANY TIMES @&£†*-:,,,
,,:-*†£&@# SINCE OUR ANCESTORS DEATH, AND THEN #@&£†*-:,,
,:-*†£&@## STOOD ABANDONED FOR A LONG WHILE. ##@&£†*-:,
,,:-*†£&@# FINALLY, THE NATURAL END STATION FOR #@&£†*-:,,
,,,:-*†£&@ THE BUILDINGS THAT SURVIVE: A MUSEUM, @&£†*-:,,,
,,:-*†£&@# AND A GIFT SHOP. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# THERE'S A LONG TIME SINCE MY FAMILY #@&£†*-:,,
,,,:-*†£&@ MADE ANYTHING. BY MANY, WE WOULD BE @&£†*-:,,,
,,:-*†£&@# CONSIDERED POOR. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# THERE ARE TWO MAIN FACTORY BUILDINGS, #@&£†*-:,,
,,,:-*†£&@ DOMED THINGS OF SEVERAL FLOORS, MADE IN @&£†*-:,,,
,,:-*†£&@# YELLOW BRICK. LARGE BUT NARROW WINDOWS, #@&£†*-:,,
,:-*†£&@## REMINESCENT OF SOME CATHEDRAL. ##@&£†*-:,
,,:-*†£&@# CUSTOM-MADE GLASS, OF COURSE, LARGE AND #@&£†*-:,,
,,,:-*†£&@ LEADED, AND ASHEN. A BIT TOO DARK TO BE @&£†*-:,,,
,,:-*†£&@# PRACTICAL. ON THE EASTERN BUILDING, #@&£†*-:,,
,:-*†£&@## SOME ARE SHATTERED. ##@&£†*-:,
,,:-*†£&@# #@&£†*-:,,
,,,:-*†£&@ THE OTHER ONE IS PUBLICLY OPEN. THERE'S @&£†*-:,,,
,,:-*†£&@# A MUSEUM, WITH WAX FIGURES OF MY GREAT #@&£†*-:,,
,:-*†£&@## GREAT GREAT GRANDFATHER, OR SOMETHING. ##@&£†*-:,
,,:-*†£&@# VARIOUS TOOLS (OR REPLICAS) LAID OUT ON #@&£†*-:,,
,,,:-*†£&@ TABLES, WITH EXPLAINING TEXTS. A LOT OF @&£†*-:,,,
,,:-*†£&@# GLASS OF VARYING THICKNESS. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# †† #@&£†*-:,,
,,,:-*†£&@ †† †† @&£†*-:,,,
,,:-*†£&@# ------- † † ------- #@&£†*-:,,
,:-*†£&@## †† †† ##@&£†*-:,
,,:-*†£&@# †† #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# I QUICKLY SNEAK OUT, AND CLIMB INTO THE #@&£†*-:,,
,:-*†£&@## OTHER BUILDING. THE CONTRAST IS ##@&£†*-:,
,,:-*†£&@# OVERWHELMING. IT MUST HAVE STOOD #@&£†*-:,,
,,,:-*†£&@ DERELICT FOR A LONG TIME, WINDOWS @&£†*-:,,,
,,:-*†£&@# BROKEN, METALLIC TRASH AND POOLS OF #@&£†*-:,,
,:-*†£&@## DARK GLASS ALL OVER THE FLOOR. NO ##@&£†*-:,
,,:-*†£&@# ELECTRIC LIGHTS, BUT I CAN SEE BY THE #@&£†*-:,,
,,,:-*†£&@ LIGHT THAT SHINES IN WHEREVER THE DARK @&£†*-:,,,
,,:-*†£&@# WINDOWS ARE MISSING A PANE. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# HOWEVER, THE GREATEST DIFFERENCE IS THE #@&£†*-:,,
,,,:-*†£&@ HIGHER FLOORS: THIS BUILDING HAS NONE. @&£†*-:,,,
,,:-*†£&@# IT IS ONE MASSIVE HALL, STRETCHING AWAY #@&£†*-:,,
,:-*†£&@## INFINITELY ABOVE ME. SOMEWHERE UP THERE ##@&£†*-:,
,,:-*†£&@# IS SOME GREAT IRON LATTICEWORK, FROM #@&£†*-:,,
,,,:-*†£&@ WHERE CHAINS ARE SUSPENDED, AND PARTS @&£†*-:,,,
,,:-*†£&@# OF MACHINERY HAS BEEN FALLING DOWN. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# THERE IS, IN THE MIDDLE OF THE GREAT #@&£†*-:,,
,,,:-*†£&@ HALL, A THIN SPIRAL STAIRCASE THAT @&£†*-:,,,
,,:-*†£&@# LEADS UP THERE. I SNEAK OVER THERE, AND #@&£†*-:,,
,:-*†£&@## TAKE A FEW RELUCTANT STEPS. AFTER JUST ##@&£†*-:,
,,:-*†£&@# A REVOLUTION, I NOTICE THAT FOR EACH #@&£†*-:,,
,,,:-*†£&@ STEP THE BUILDING STARTS TO GLOW, THE @&£†*-:,,,
,,:-*†£&@# BRICKS TURNING A DARK RED, AND THEN #@&£†*-:,,
,:-*†£&@## ORANGE, ALL THE PILED UP DEBREE BEING ##@&£†*-:,
,,:-*†£&@# LIT FROM BEHIND. #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# I STOP READY TO RUN DOWN AND OUT, BUT #@&£†*-:,,
,:-*†£&@## THERE'S SOMEONE ELSE ON THE STAIRCASE ##@&£†*-:,
,,:-*†£&@# WITH ME NOW, PRESSED CLOSE. HE'S #@&£†*-:,,
,,,:-*†£&@ LOOKING LIKE ME, SHORT HAIR AND THIN @&£†*-:,,,
,,:-*†£&@# ARMS, BUT WITH EARS FROM SOME ANIMAL, #@&£†*-:,,
,:-*†£&@## AND MORE DISTURBINGLY, COMPLETELY MADE ##@&£†*-:,
,,:-*†£&@# OF DARK LIQUID GLASS. #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# †† #@&£†*-:,,
,:-*†£&@## †† †† ##@&£†*-:,
,,:-*†£&@# ------- † † ------- #@&£†*-:,,
,,,:-*†£&@ †† †† @&£†*-:,,,
,,:-*†£&@# †† #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# MY FEAR HOLDS ME IN PLACE WHILE HE #@&£†*-:,,
,,,:-*†£&@ STARTS OPERATING LEVERS AND DIALS SET @&£†*-:,,,
,,:-*†£&@# IN THE CENTER OF THE STAIRCASE. SLOWLY, #@&£†*-:,,
,:-*†£&@## IT STARTS SPINNING, CIRCLING UPWARDS. ##@&£†*-:,
,,:-*†£&@# IT'S AN ELEVATOR! I START TO RUN #@&£†*-:,,
,,,:-*†£&@ DOWNWARDS, BUT NOW THE LIQUID BOY @&£†*-:,,,
,,:-*†£&@# CREATURE GRABS HOLD OF ME. I TRY TO #@&£†*-:,,
,:-*†£&@## SHAKE HIM OFF, BUT HE'S TOO STRONG, AND ##@&£†*-:,
,,:-*†£&@# PULLS ME BACK UP BESIDE HIM. #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# THIS TIME, I TURN ANGRY INSTEAD. WHAT #@&£†*-:,,
,:-*†£&@## THE HELL? WHO IS THIS GUY, ACTING LIKE ##@&£†*-:,
,,:-*†£&@# THIS? I REACH OUT MY FREE ARM AND SLAM #@&£†*-:,,
,,,:-*†£&@ A RANDOM LEVER. SOME METAL BAR IS @&£†*-:,,,
,,:-*†£&@# SUDDENLY RELEASED BETWEEN US, HITTING #@&£†*-:,,
,:-*†£&@## HIM ON THE ARM, FORCING MY RELEASE. I ##@&£†*-:,
,,:-*†£&@# SHOVE HIM OFF OF ME, AND HE FALLS INTO #@&£†*-:,,
,,,:-*†£&@ THE LEVERS, MESSING THEM UP. @&£†*-:,,,
,,:-*†£&@# IMMEDIATELY, A THIN RUSTY CHAINMAIL #@&£†*-:,,
,:-*†£&@## CURTAIN IS DROPPED AROUND ME. BUT THE ##@&£†*-:,
,,:-*†£&@# ELEVATOR ALSO SPEEDS UP SIGNIFICANTLY. #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# THE WALLS ARE FLARING NOW, YELLOW, #@&£†*-:,,
,:-*†£&@## WHITE, ALMOST BLUE. I CLOSE MY EYES AND ##@&£†*-:,
,,:-*†£&@# CURL INTO A BALL. BUT THEN, THE GLASS #@&£†*-:,,
,,,:-*†£&@ BOY SCREAMS, A PIERCING SOUND THAT @&£†*-:,,,
,,:-*†£&@# FORCES MY EYES BACK OPEN. I WATCH AS HE #@&£†*-:,,
,:-*†£&@## BECOMES TOO LIQUID, HIS BODY POOLING ##@&£†*-:,
,,:-*†£&@# DOWN IN HIS NOW MASSIVE TAIL, AND THE #@&£†*-:,,
,,,:-*†£&@ TIP OF IT SUDDENLY BREAKS OF IN A GLASS @&£†*-:,,,
,,:-*†£&@# DROP THAT FALLS TOWARD THE FACTORY #@&£†*-:,,
,:-*†£&@## FLOOR. ##@&£†*-:,
,,:-*†£&@# #@&£†*-:,,
,,,:-*†£&@ HE'S CRAWLING ON THE STAIRS, UNABLE TO @&£†*-:,,,
,,:-*†£&@# KEEP HIS BODY UPRIGHT. CAN'T REACH THE #@&£†*-:,,
,:-*†£&@## LEVERS, CLAWS AT MY CHAINMAIL CAGE, ##@&£†*-:,
,,:-*†£&@# WHILE HIS BODY IS TURNING INTO DARK #@&£†*-:,,
,,,:-*†£&@ PEARLS. FINALLY, HE'S LOST TOO MUCH OF @&£†*-:,,,
,,:-*†£&@# HIMSELF AND THE SCREAM IS CUT SHORT. #@&£†*-:,,
,:-*†£&@## THE LAST OF HIM RAINS DOWN. ##@&£†*-:,
,,:-*†£&@# #@&£†*-:,,
,,,:-*†£&@ I STILL CAN'T REACH THE LEVERS FROM @&£†*-:,,,
,,:-*†£&@# WITHIN MY CAGE. LOOKING UP, I TRY TO #@&£†*-:,,
,:-*†£&@## MAKE OUT THE CEILING, BUT IT'S ALL A ##@&£†*-:,
,,:-*†£&@# WHIRLING SEA OF COLOURS. BELOW ME GLOWS #@&£†*-:,,
,,,:-*†£&@ THE HELLFIRE OF THE FACTORY WALLS, BUT @&£†*-:,,,
,,:-*†£&@# VERY FAINT. I SIT DOWN, CURL BACK UP, #@&£†*-:,,
,:-*†£&@## BECOME STILL. ##@&£†*-:,
,,:-*†£&@# #@&£†*-:,,
,,,:-*†£&@ †† @&£†*-:,,,
,,:-*†£&@# †† †† #@&£†*-:,,
,:-*†£&@## ------- † † ------- ##@&£†*-:,
,,:-*†£&@# †† †† #@&£†*-:,,
,,,:-*†£&@ †† @&£†*-:,,,
,,:-*†£&@# #@&£†*-:,,
,:-*†£&@## A LARGE CLUNK SHAKES MY ENTIRE BODY, ##@&£†*-:,
,,:-*†£&@# AND SNAPS ME BACK INTO REALITY. I'M #@&£†*-:,,
,,,:-*†£&@ BACK AT THE FACTORY FLOOR, BUT THE @&£†*-:,,,
,,:-*†£&@# STAIRS ARE STILL MOVING SLIGHTLY, #@&£†*-:,,
,:-*†£&@## CLICKING IN PLACE, CARRYING ME THE LAST ##@&£†*-:,
,,:-*†£&@# FEW CENTIMETERS. I CAME FROM BELOW, #@&£†*-:,,
,,,:-*†£&@ SOMEHOW. THE CHAINMAIL IS RETRACTED, @&£†*-:,,,
,,:-*†£&@# AND I SLOWLY DISMOUNT THE STAIRS. #@&£†*-:,,
,:-*†£&@## ##@&£†*-:,
,,:-*†£&@# SHAKING AND CRYING, I MAKE MY WAY OVER #@&£†*-:,,
,,,:-*†£&@ THE FACTORY FLOOR, WADING THROUGH DARK @&£†*-:,,,
,,:-*†£&@# GLASS MARBLES. A QUICK GLANCE DOWN, AND #@&£†*-:,,
,:-*†£&@## I SEE THERE'S SOMETHING FAINT INSIDE ##@&£†*-:,
,,:-*†£&@# THEM. EMBRYOS? ARE THESE EGGS? #@&£†*-:,,
,,,:-*†£&@ @&£†*-:,,,
,,:-*†£&@# I SHUDDER, AND CLIMB BACK OUT. #@&£†*-:,,
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