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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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