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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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