Starry Nights in Shattered Glass

The whine of an overused air conditioner and a fluorescent glow against his back— Natsuki Subaru steps out from the convenience store and onto asphalt, dry leaves crunching under his sneakers. Echoes of a pop tune bounce in his inner canal; only interrupted when a car drives by.

"S-save... you..." A voice without owner flies by him. He pauses and looks in the direction of the car but continues on his way back home.

He takes another two steps before the entire world seems to shift beneath his feet. Cars turn to wagons, street lamps into colorful flags strung between buildings, and night becomes day. Then in an instant, the world returns to normal.

He rubs his eyes one more time under the light of Earth's moon before opening them up to—

??? — ...of the world.

NATSUKI SUBARU — ...uh.

The boy from another world looks around. There are humanoids with animal features walking on their own two feet, lizards the size of horses pulling wagons and carriages, and an aesthetic straight out of a ren faire.

NATSUKI SUBARU — What's... going on? I'd say I was dreaming but... this is obviously real.

NATSUKI SUBARU — So does this mean, I've been summoned across the universe to ANOTHER WORLD!?

The boy's outburst and strange appearance draws attention but not the positive kind. People give him a wide berth but... it at least leaves him alone long enough to become acquainted with his new companion.

??? — You don't have to shout.

NATSUKI SUBARU — Who said that!? You're not the cute girl who summoned me to this world, are you?

THE NARRATOR — Between your little conniption and that question, you didn't hear anything I said did you?

THE NARRATOR — Fine, then. I'm the Narrator. My job is to guide you on your quest in this world.

NATSUKI SUBARU — Ah, explains the disembodied voice. And a quest you say? Well, lay it on me!

THE NARRATOR — You don't have to say all that out loud. I can hear you quite fine with your mouth closed. But getting back on track...

THE NARRATOR — You're on a path in the city. And at the end of that path is a cabin. And in the basement of that cabin is a princess.

THE NARRATOR — You're here to slay her. If you don't, it will be the end of the world.

(Explore) The end of the world?
(Explore) Why would a princess be in a cabin?
(Explore) Are you sure you didn't mean to say "save her"?
(Explore) Killing a princess seems hard. Do I get any new 'isekai' powers to help?
(Explore) Why don't I just call the guards, or whatever fantasy police exist, if she's such a threat?
Well, I might as well get a move on!
That all sounds like a lot of trouble. I'm going to explore the city more first.
[Silently continue down the path.]
[Turn around and explore the city.]

NATSUKI SUBARU —S-slay her? Wha- wait, wait! Let's roll that back, what do you mean 'end of the world'!?

THE NARRATOR — I am talking about the end of everything as we know it. No more cities, no more skies, and most problematically of all, no more people. You have to put an end to her.

(Explore) How can a princess end the world?
(Explore) Why would a princess be in a cabin?
(Explore) Are you sure you didn't mean to say "save her"?
(Explore) Killing a princess seems hard. Do I get any new 'isekai' bonuses to help?
(Explore) Why don't I just call the guards, or whatever fantasy police exist, if she's such a threat?
Well, I might as well get a move on!
That all sounds like a lot of trouble. I'm going to explore the city more first.
[Silently continue down the path.]
[Turn around and explore the city.]

NATSUKI SUBARU — So are you sure that you meant to say 'slay'? Isn't it usually dragons that get slayed and princesses saved?

THE NARRATOR — Of course not, she doesn't need to be saved, she needs to be slayed. Did you forget that she'll 'end of the world' if you don't stop her?

NATSUKI SUBARU — No, no I heard you the first time. If this guy is to be believed, I'm up against some crazy villainess!

NATSUKI SUBARU — Guess that makes me the heroine, er, hero of this world.

(Explore) How can a princess end the world?
(Explore) Why would a princess be in a cabin?
(Explore) Killing a princess seems hard. Do I get any new 'isekai' powers to help?
(Explore) Why don't I just call the guards, or whatever fantasy police exist, if she's such a threat?
Well, I might as well get a move on!
That all sounds like a lot of trouble. I'm going to explore the city more first.
[Silently continue down the path.]
[Turn around and explore the city.]

NATSUKI SUBARU — Okay, I don't mean to question you so much Mr. Quest Giver but this princess sounds very dangerous. Not to mention, wouldn't a princess have guards or a knight to protect her?

NATSUKI SUBARU — Don't I get some kind of ability or 'cheat' to help me out?

THE NARRATOR — She's only a princess, despite her being a threat to the world she's hardly a physical challenge for you.

THE NARRATOR — But a word of warning— she is not a princess for nothing. People listen to her when she speaks. If you go in prepared to hear her out, then you'll be trapped in her web of honeyed lies.

THE NARRATOR — Then each and every one of us is doomed.

NATSUKI SUBARU — Those are some high stakes!

THE NARRATOR — And your special ability, well, you will get a 'bonus' so to say. Only you can do this after all.

NATSUKI SUBARU — O-only me? Hey, guess that confirms I really am special in this world!

THE NARRATOR — Of course you're special. You're the only one who can slay her after all.

THE NARRATOR — To do so, you'll need a weapon. In the cabin, there will be a pristine blade waiting for you.

THE NARRATOR — It will be your implement. You'll need it if you want to do this right.

NATSUKI SUBARU — An OP magic sword? Now this is sounding more my speed!

(Explore) How can a princess end the world?
(Explore) Why would a princess be in a cabin?
(Explore) Why don't I just call the guards, or whatever fantasy police exist, if she's such a threat?
Well, I might as well get a move on then!
That all sounds like a lot of trouble. I'm going to explore the city more first.
[Silently continue down the path.]
[Turn around and explore the city.]

NATSUKI SUBARU — Well, if my quest is just down this path then I guess there's no time like the present to get a move on!

THE NARRATOR — Good. I'm glad you've got a good head on your shoulders, character quirks considered.

NATSUKI SUBARU — Was that another dig at me, narrator man? Hmph.

NATSUKI SUBARU — But really, I'll have you know I'd be completely clueless without you, so thanks!

THE NARRATOR — Don't mention it. It's all part of the job.

THE NARRATOR — You make your way through the bustling city streets, the morning sun casting a long shadow in front of you. Moving from stall to stall, your eyes follow the signage, eyes squinting.

NATSUKI SUBARU — I can't read any of this.

THE NARRATOR — Really?

THE NARRATOR — Well the stall you're looking at right now appears to be for... appas. They look like apples.

FRUIT SELLER — Oi, boy.

THE NARRATOR — You turn your head to face the owner of the stall.

FRUIT SELLER — Those are some weird clothes, you travelin'?

NATSUKI SUBARU — Hm. What to say...

THE NARRATOR — You still have a cabin to find and this is just a distraction. If you must linger here, just be quick about it.

"These are apples?"
"You wouldn't happen to have seen a cabin anywhere, have you?"
"Sorry to trouble you. I'll be on my way!"
[Leave the stall.]

THE NARRATOR — You point to the basket of red fruit nearest to you.

NATSUKI SUBARU — Are these apples?

FRUIT SELLER — They're appas. Want one?

"You wouldn't happen to have seen a cabin anywhere, have you?"
"Sorry to trouble you. I'll be on my way!"
[Take out your wallet.]
[Leave the stall.]

THE NARRATOR — You take out your wallet and present a set of assorted coins.

FRUIT SELLER — Huh? What kind of money is that? You can't use that stuff here in Lugunica.

NATSUKI SUBARU — Oh, I guess that means...

FRUIT SELLER — ...you're flat broke, huh?

THE NARRATOR — The stall owner shouts in your face to stop interfering with his business and you promptly follow his command.

NATSUKI SUBARU — How was I supposed to know that my starting gear would be useless? Guess I'm still missing information since I haven't finished the tutorial.

THE NARRATOR — Tutorial? I wouldn't get used to calling this a game, the stakes are far too serious for that.

NATSUKI SUBARU — Hey, you're the one who called it a quest!

THE NARRATOR — In the heroic sense. This isn't a video game, this is real and the consequences for failure are just as real.

NATSUKI SUBARU — Hmph. I guess you're right.

NATSUKI SUBARU — Agh! I'm still embarrassed from getting yelled at like that. Doesn't feel heroic at all.

THE NARRATOR — Like I said, this was just a distraction. You need to keep moving forward.

NATSUKI SUBARU — Yes, yes. My jaw is going to get tired of saying you're right fast.

THE NARRATOR — You continue down your path, giving no heed to the buildings you pass by. With a quick pace, you chance upon a side road.

NATSUKI SUBARU — ...something about this alley calls out to me. Is it the way the light falls on the crates at the end?

NATSUKI SUBARU — It's like... there's an encounter here just waiting to happen!

THE NARRATOR — That's not true. This is just another detour which we cannot afford to take right now.

(Explore) Really? But I can feel my protagonist senses tingling!
[Continue down the main road.]
[Head down the side street.]

NATSUKI SUBARU — He's been right so far. I better keep going.

THE NARRATOR — You turn away from the detour and march along your path.

THE NARRATOR — Time passes and the sun falls lower and lower in the sky. The blue of the sky has turned to an orange hue and the first signs of the moon and stars have begun to show.

THE NARRATOR — Wait, what's going on? It shouldn't be this difficult just to get to her.

NATSUKI SUBARU — You're kidding! You didn't know it's this far away? You could've told me you didn't know!

THE NARRATOR — I told you already not to talk to me out loud.

THE NARRATOR — I know enough and I've told you enough. I'm sure if you keep on going, you'll reach the cabin even if it's taking longer than expected.

NATSUKI SUBARU — ...we're too far in to stop here, I guess. But I'm resting for a minute. I just came from gaming all night so this has just about spent all my stamina points.

THE NARRATOR — I don't think that's advisable. If the princess is given time, she will escape her confinement. Once that happens, it's all over for everyone.

[Trek on.]
[Take a rest.]

NATSUKI SUBARU — I'm sure a few minutes won't hurt.

THE NARRATOR — Fine. You find a corner to sit down and rest momentarily. Your eyes droop and your weary muscles loosen.

NATSUKI SUBARU — Just... a few... minutes...

THE NARRATOR — You fall asleep.

An everpresent void surrounds the boy. Neither dark nor light, it does not imply the presence or absence of anything. It is prior to either concept. Prior to space, time, and causality. It cannot be seen, it is neither here nor there. It cannot be experienced, for it is beyond senses. It is both the start of everything and the end of everything. It cannot be known, cannot be remembered, but it is the most important place. It is the only place. The primordial sea sings out to him in a voice that rings of precious metals and promises never made and yet still forgotten.

THE NARRATOR — You jolt awake. A chilling wind caresses your exposed neck and your fingertips feel numb.

NATSUKI SUBARU — W-what's happening?

THE NARRATOR — Frost has formed over your eyelids but you force them open slowly. You can see a blizzard beyond the size of a mountain swirling in the distance. The numbness is spreading quickly.

THE NARRATOR — I suppose this is it. I'm sorry, if that over there is what I think it is then I led you astray.

NATSUKI SUBARU — N-no, how long was I out!?

THE NARRATOR — Too long. Dusk turned to nighttime and then that appeared.

NATSUKI SUBARU — S-shit! Wait... I can't hear my voice? A-am I not talking out loud?

THE NARRATOR — Your mouth tries to follow where your thoughts go but it's pointless. Your tongue has frozen over.

NATSUKI SUBARU — N-no! I need to stand up, I need to run, I need to-

THE NARRATOR — You try to get up but your feet are numb too. You fall forward.

NATSUKI SUBARU — N-no, no! Do something!

THE NARRATOR — You crawl on your belly but there's nowhere left to go. I'm sorry, truly. I thought I could adapt to the changes in the script but this really wasn't the path to the cabin was it?

NATSUKI SUBARU — Y-you say that now!? Stop talking, just let me think! There's gotta be something I can do!

THE NARRATOR — I wish there was. The frost spreads and the blizzard only intensifies. The screams of families ring in your ears, cutting through the roaring winds. Your movements slow and soon your body will refuse to move at all.

NATSUKI SUBARU — What on earth did I do to deserve this? What on earth did I do!? I don't want to die. I don't want to die!

THE NARRATOR — You whimper and tears form just as fast as they freeze. A sad howling noise comes from your throat like that of an injured dog.

THE NARRATOR — But your last cry for help goes unheard. As hot and cold begin to lose their meaning to you, your lungs give out.

NATSUKI SUBARU — Why me? Why me? Why me!?

THE NARRATOR — Everything goes dark, and you die.

Starry Nights in Shattered Glass

Jacoder23

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