Difference between revisions of "Kara no Kyoukai:Chapter01 04"

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(Changed "called" to "named"... (Although they seem to be of the same meaning.))
 
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===→/3===
   
'' ''---------The bone in my nape creaks.
+
''---------The bone in my nape creaks.
   
Is the coldness that's making me tremble coming from outside or inside my body?
+
''Is the cold that's making me shiver coming from outside or inside my body?''
   
 
Leaving what can't be distinguished aside, Shiki keeps walking.
 
Leaving what can't be distinguished aside, Shiki keeps walking.
   
There's no sign of people at the Fujiyoh building.
+
There's no sign of human activity at the Fujiyoh building.
   
It's two in the morning. Only the white light illuminates the hallway of the mansion. The cream-colored walls are lightened up by the light and I could see to the end of the hallway. The artificial light which takes away the darkness looks too artificial that it rather looks scary.
+
''It's two in the morning. Only the white light illuminates the hallway of the mansion. The cream-colored walls are bathed in light and I can see to the end of the hallway. The light which steals away the darkness feels eerily artificial and unnatural.
   
Passing by the card checker at the entrance, I enter the elevator.
+
''Passing by the card checker at the entrance, I enter the elevator.
   
It's empty inside. The back of the elevator has a mirror attached, and it is made so that the rider could see themselves. Inside the mirror is a person wearing a black leather jacket over light blue kimono, with lazy looking eyes. Those eyes look like they care about nothing.
+
''It's empty inside. A mirror is bolted to the rear panel of the elevator for the convenience of the passenger. Watching me with lazy eyes from the inside of the mirror is someone wearing a black leather jacket over a light blue kimono. Eyes that look like they care about nothing.''
   
Shiki looks at the figure in the mirror, and pushes the button that says "R". With a small start-up sound, the world around Shiki rises. The machine-powered box will reach the top floor in a matter of seconds.
+
Shiki glances at the figure in the mirror, and pushes the button that says "R". With a small start-up sound, the world around Shiki rises. The motor-driven box will reach the top floor in a matter of seconds.
   
It is a closed up room for the time being. Nothing occuring outside right now concerns Shiki, and it is impossible to be concerned with the outside world. That feeling seeps into the supposedly empty mind. This small box is the only world I'm supposed to feel right now.
+
It is a closed-off room for the time being. Nothing occurring outside right now concerns Shiki, and it is impossible to be concerned with the outside world. That feeling seeps into the supposedly empty mind. This small box is the only world I'm supposed to feel right now.
   
 
The door opens without a sound. What's outside is a totally different world, a world of darkness.
 
The door opens without a sound. What's outside is a totally different world, a world of darkness.
   
After getting out to the room which only contains the door leading to the rooftop, the elevator leaves Shiki and goes back down to the first floor. There are no lights, and the surrounding is painfully dark.
+
After arriving at the annex, containing only the door leading to the rooftop, the elevator leaves Shiki and descends back towards the first floor. There are no lights, and the surroundings are painfully dark.
   
Going across the small room, Shiki opens the door leading to the rooftop.
+
Heading across the small room, Shiki pushes open the door to the rooftop.
   
... The black darkness turns into a faint darkness.
+
... The deep darkness becomes faint.
   
The vision fills up with the view of the city.
+
''The outline of the city fills my vision.''
   
The rooftop of the Fukiyoh building is a plain one. The floor is made of flat concrete, and there is a fence that surrounds the whole rooftop. There is only a water tower on top the room Shiki was in, and there is nothing else in particular. The rooftop itself is a plain one. But the view from it is what is out of this world.
+
The rooftop of the Fujiyoh building is a plain one. The floor is made of flat concrete, and there is a fence that surrounds the perimeter of the roof. A solitary water tower stands atop the annex, but there is nothing else particularly significant.
   
  +
The rooftop itself is a plain one, but the view from it is out of this world.
The view of the night town from this building that is at least ten stories higher than the surroundings feels more lonely than beautiful. It feels like you're on top a tall ladder looking down onto the world. The dark, bottom of the sea-like view is certainly beautiful. The lights here and there are like the lights of the deep-sea fishes.
 
   
  +
The view of the night town from this building that is at least ten stories higher than its surroundings feels perhaps more lonely than beautiful. It feels like you're on top of a tall ladder looking down onto the world. The depths of this sea view, however, are certainly beautiful. The electric lights dotted here and there give off a warm luminescence like that of an anglerfish.
If my view right now is the whole world, then the world right now is indeed sleeping. Probably forever, but unfortunately temporary. The quietness tightens my heart more than any coldness, and it is rather painful...
 
   
  +
''If my view right now is that of the whole world, then the world right now is indeed asleep, as if eternally, but fortunately it's only temporary. The silence tightens my heart more than any coldness, and it is rather painful...
The coldness in the night sky is standing out as much as the coldness below. If the town is the deep sea, then the sky is just pure darkness. In the darkness, stars glitter like jewels. The moon is a hole. It only looks like a large hole in a big black canvas called the night sky. So that thing is really not a mirror of the sun, but rather a view of the other side... That's what I heard at the house of the Ryohgi. According to them, the moon is a gate to another world.
 
   
  +
''The coldness of the night sky stands out just much as the coldness below. If the town is the deep sea, then the sky is just pure darkness. In the darkness, stars glitter like jewels. The moon is a void in this darkness - a large hole in a big black canvas known as the night sky. So that thing is really not a mirror of the sun, but rather a view of "the other side"... That's what I heard at the house of the Ryougi. According to them, the moon is a gate to another world.''
The moon from ancient times has carried magic, women, and death. And with that moon behind it, a human form is floating...
 
  +
  +
Since ancient times, the moon has carried magic, women, and death. And with that moon behind it, a human form is floating...
   
 
... With eight girls flying around it.
 
... With eight girls flying around it.
   
 
   
  +
<div style="text-align:center">◇</div>
The white figure in the night sky is that of a woman. She wears a fancy white cloth that one might mistaken for a dress, and has long, black hair reaching down to her waists. Her arms and legs are slender, and it makes this woman look even more beautiful.
 
  +
  +
  +
The white figure in the night sky is that of a woman. She wears a fancy white garment that one might mistake for a dress, and has long black hair reaching down to her waist. Her arms and legs are slender, and they make this woman look even more beautiful.
   
The thin brow and the cold eyes are beautiful. I can estimate she's in her twenties. Although its doubtful that you can fit an age for a living thing onto something like a ghost.
+
''The thin brow and the cold eyes are beautiful. I can estimate she's in her twenties. Although it's doubtful that you can fit an age meant for a living being onto something like a ghost.''
   
But the white woman is not abstract like a ghost. She is really there. If you want ghosts, the girls floating around the woman are more like it. The girls floating around aimlessly seems more like swimming than flying. Even their figures are abstract, as they turn transparent from time to time.
+
But the white woman is not abstract like a ghost. She is really there. The girls aimlessly flocking around the woman seem to match the definition of "ghost" better than her; their lazy floating makes them seem more like they are swimming than flying. Even their figures and forms are abstract, as they flicker into transparency from time to time.
   
What's above Shiki right now are the white woman and the girls floating around the woman as if to protect her.
+
What's above Shiki right now are the white woman and the girls floating as if to protect her.
   
 
The whole sight is not horrifying. No, this is more like...
 
The whole sight is not horrifying. No, this is more like...
Line 57: Line 61:
 
Shiki sneers.
 
Shiki sneers.
   
This woman's beauty is already not that of a human's. Her black hair is especially beautiful, as each seems like silk. If the wind was strong, her figure with the hair flowing would have been a profound beauty.
+
This woman's beauty is no longer that of a human's. Her black hair is especially luxurious, each strand with a silken sheen and texture. If the wind were stronger, her figure with hair flowing about it would have been a profoundly beautiful image.
   
"Then I have to kill you"
+
"Then I shall have to kill you"
   
Maybe she heard Shiki's murmur, as the woman looks down. The woman is four meters above this rooftop already over forty meters high. The woman and Shiki's gazes meet.
+
Perhaps hearing Shiki's murmur, the woman looks down. The woman is four meters above this rooftop which is already over forty meters high. The woman’s and Shiki's gazes meet.
   
There is no words to speak, nor is there a language to communicate with.
+
There are no words to speak, nor is there a language to communicate with.
   
Shiki puts a hand in the jacket and takes out a knife. A weapon more like a sword than a knife, with a blade about eighteen centimeters long. (7 inches)
+
Shiki reaches a hand into her leather jacket and draws a knife. A small sword by any other name, with a blade perhaps some eighteen centimeters long.
   
Shiki's mind fills up with the intent to kill with the gaze from above.
+
Shiki's consciousness is filled by the killing intent of the gaze piercing down from above her.
   
The white figure sways. Her arm flows and a slender finger points at Shiki. That slender, fragile arm does not remind Shiki of white.
+
The white figure sways. Her arm flows and a slender finger points at Shiki. That slender, fragile arm does not remind Shiki of ''white''.
   
 
"... More like bones, or a lily"
 
"... More like bones, or a lily"
   
In the windless night, the voice stayed in the air for a long time.
+
In the windless night, her voice hung in the air for a long time.
   
  +
<nowiki>----</nowiki> The will put into the fingertip is the intent to kill.
----
 
 
The will put into the fingertip is the intent to kill.
 
   
 
The white fingertip points at Shiki.
 
The white fingertip points at Shiki.
Line 87: Line 89:
 
The woman overhead hesitated a bit from that.
 
The woman overhead hesitated a bit from that.
   
The suggestion that "you can fly" is not working on this person.
+
The ''suggestion'' that "you can fly" is not working on this person.
   
Her power can give someone the impression that "they were flying", and it's more like brainwashing than suggestion. There's no way to fight it, and as a result, one actually tries to fly, or runs away from the fear of being able to fly. But Shiki was able to stand is with just a small daze.
+
Her power can give someone the impression that "they were flying" - more of a brainwashing than a "suggestion" by any normal definition. There is no way to fight it, and as a result, one actually tries to fly, or conversely runs away from the fear of being able to fly. But Shiki was able to withstand it with just a small daze.
   
 
"---------"
 
"---------"
   
The woman wonders if the contact was too weak, and decides to use suggestion again.
+
The woman wonders if the contact was too weak, and decides to use ''suggestion'' again.
   
But this time, stronger. Not a weak impression like "you can fly", but she orders "you have to fly".
+
But this time, stronger. Not a weak impression like "You can fly" but she orders firmly: "You have to fly!"
   
 
But before that, Shiki looks at the woman.
 
But before that, Shiki looks at the woman.
   
One on each of her legs, one on her back, and one point on her left chest. The cutting section called death can be certainly seen. The one on her chest would be a good one to aim for. That would be an instant kill. Even if that woman is just an image, I could even kill God if it is alive.
+
''One on each of her legs, one on her back, and one point on her left chest. The cutting section named ''death'' can be certainly seen. The one on her chest would be a good one to aim for. That would be an instant kill. Whether this woman is an illusion or something else, as long as it's alive, even if it were a god, I'll kill it.''
   
Shiki raises the knife with one hand. Holding the knife backwards, Shiki looks at the enemy in the sky.
+
Bringing the knife to bear in a firm reverse grip, Shiki glares at the enemy in the sky.
   
Then, the impulse attacks Shiki again.
+
The impulse assails Shiki once more.
   
... I can fly. I can fly. I liked the sky from before. I was flying yesterday too. I could probably fly higher today. Freely. Feeling peaceful. Laughing. I have to go quickly...
+
''...I can fly. I can fly. I liked the sky from before. I was flying yesterday too. I could probably fly higher today. Freely. Feeling peaceful. Laughing. I have to go quickly...
   
Where? To the sky? Free? ... That's...
+
''Where? To the sky? Free? ... That's...
   
Escape from reality. Yearn for the sky. Reaction to gravity. No feet on ground. Flight under unconsiousness.
+
''Escape from reality. Yearn for the sky. Reaction to gravity. No feet on ground. Flight under unconsciousness.
   
Let's go, let's go, let's go, let's go, let's go, let's go------------------ GO!
+
''Let's go, let's go, let's go, let's go, let's go, let's go------------------ GO!''
   
 
"You've got to be kidding me."
 
"You've got to be kidding me."
Line 117: Line 119:
 
Saying that, Shiki raises the empty left hand.
 
Saying that, Shiki raises the empty left hand.
   
The suggestion does not work anymore. Shiki does not even get a daze.
+
The suggestion does not work anymore. Shiki is not even fazed.
   
 
"I don't have that kind of admiration for the sky. I don't feel alive, so I don't know the pain of living. To be honest, I don't care about you at all."
 
"I don't have that kind of admiration for the sky. I don't feel alive, so I don't know the pain of living. To be honest, I don't care about you at all."
   
... A murmur more like singing.
+
...A murmur more like singing.
   
Shiki does not feel any restraint, joy or sollow of life.
+
Shiki does not feel any restraint, joy or sorrow in life.
   
 
That's why Shiki is not attracted to the liberation from pain.
 
That's why Shiki is not attracted to the liberation from pain.
   
"But I don't like for you to keep him. I got him first, so I'm taking him back."
+
"But I don't like you keeping him. I got him first, so I'm taking him back."
   
 
Shiki's left hand grabs the empty air and pulls back.
 
Shiki's left hand grabs the empty air and pulls back.
   
As if being pulled by the left hand, the woman and the girls are pulled toward Shiki. Like fishes being pulled in with a net.
+
As if being pulled by the left hand, the woman and the girls are pulled toward Shiki like fish being reeled in with a net.
   
 
"---------!"
 
"---------!"
   
The woman's expression changes. She puts more power into her will and pounds it on Shiki.
+
The woman's expression changes. She puts more resolve into her will and pounds it against Shiki.
   
If she could communicate with Shiki, she would have screamed,
+
If she could communicate with Shiki, she would have screamed
   
"Fall."
+
"Fall!"
   
Ignoring the curse, Shiki responds in a scary tone.
+
Ignoring the curse, Shiki responds in an icy tone.
   
 
"You fall."
 
"You fall."
   
The knife pierces the chest of the woman coming down. As easily as stabbing a fruit, and so sharply that even the one stabbed admires it.
+
The knife drives into the chest of the woman as she is forced downwards. As simply and swiftly as slicing through a fruit, and with such precision that even the woman feels a brief glimpse of admiration.
   
 
There is no blood.
 
There is no blood.
   
The woman could not move from the shock of the knife piercing her, and convulses just once.
+
The woman, unable to move from the shock of the knife transfixing her chest, convulses just once.
  +
  +
Shiki casually throws the corpse over the tall fence, into the depths of the dark city.
  +
  +
The woman tumbles past the bounds of the rooftop and falls without a sound. Her dark, silken hair does not flutter, even during the fall, and fades into the night as her white robes are lost to the wind.
   
  +
''Like a white flower sinking deep into the ocean.''
Shiki throws the corpse casually, to the other side of the fence into the night town.
 
   
  +
Shiki leaves the rooftop.
The woman's body goes past the edge and falls without a sound. Her hair does not flutter even during the fall, and disappears into the night with her white robe expanded in the wind.
 
   
  +
Above, the floating girls still remain...
It was like a white flower sinking deeo into the ocean.
 
   
And then, Shiki leaves the rooftop.
 
   
  +
<noinclude>
Above, the floating girls still remains...
 
  +
{| border="1" cellpadding="5" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaaaaa solid; padding: 0.2em; border-collapse: collapse;"
  +
|-
  +
| Go back to [[Kara_no_Kyoukai:Chapter01_03|Previous Section]]
  +
| Return to [[Kara_no_Kyoukai|Main Page]]
  +
| Move to [[Kara_no_Kyoukai:Chapter01_05|Next Section]]
  +
|-
  +
|}
  +
</noinclude>

Latest revision as of 00:32, 21 April 2013

→/3[edit]

---------The bone in my nape creaks.

Is the cold that's making me shiver coming from outside or inside my body?

Leaving what can't be distinguished aside, Shiki keeps walking.

There's no sign of human activity at the Fujiyoh building.

It's two in the morning. Only the white light illuminates the hallway of the mansion. The cream-colored walls are bathed in light and I can see to the end of the hallway. The light which steals away the darkness feels eerily artificial and unnatural.

Passing by the card checker at the entrance, I enter the elevator.

It's empty inside. A mirror is bolted to the rear panel of the elevator for the convenience of the passenger. Watching me with lazy eyes from the inside of the mirror is someone wearing a black leather jacket over a light blue kimono. Eyes that look like they care about nothing.

Shiki glances at the figure in the mirror, and pushes the button that says "R". With a small start-up sound, the world around Shiki rises. The motor-driven box will reach the top floor in a matter of seconds.

It is a closed-off room for the time being. Nothing occurring outside right now concerns Shiki, and it is impossible to be concerned with the outside world. That feeling seeps into the supposedly empty mind. This small box is the only world I'm supposed to feel right now.

The door opens without a sound. What's outside is a totally different world, a world of darkness.

After arriving at the annex, containing only the door leading to the rooftop, the elevator leaves Shiki and descends back towards the first floor. There are no lights, and the surroundings are painfully dark.

Heading across the small room, Shiki pushes open the door to the rooftop.

... The deep darkness becomes faint.

The outline of the city fills my vision.

The rooftop of the Fujiyoh building is a plain one. The floor is made of flat concrete, and there is a fence that surrounds the perimeter of the roof. A solitary water tower stands atop the annex, but there is nothing else particularly significant.

The rooftop itself is a plain one, but the view from it is out of this world.

The view of the night town from this building that is at least ten stories higher than its surroundings feels perhaps more lonely than beautiful. It feels like you're on top of a tall ladder looking down onto the world. The depths of this sea view, however, are certainly beautiful. The electric lights dotted here and there give off a warm luminescence like that of an anglerfish.

If my view right now is that of the whole world, then the world right now is indeed asleep, as if eternally, but fortunately it's only temporary. The silence tightens my heart more than any coldness, and it is rather painful...

The coldness of the night sky stands out just much as the coldness below. If the town is the deep sea, then the sky is just pure darkness. In the darkness, stars glitter like jewels. The moon is a void in this darkness - a large hole in a big black canvas known as the night sky. So that thing is really not a mirror of the sun, but rather a view of "the other side"... That's what I heard at the house of the Ryougi. According to them, the moon is a gate to another world.

Since ancient times, the moon has carried magic, women, and death. And with that moon behind it, a human form is floating...

... With eight girls flying around it.



The white figure in the night sky is that of a woman. She wears a fancy white garment that one might mistake for a dress, and has long black hair reaching down to her waist. Her arms and legs are slender, and they make this woman look even more beautiful.

The thin brow and the cold eyes are beautiful. I can estimate she's in her twenties. Although it's doubtful that you can fit an age meant for a living being onto something like a ghost.

But the white woman is not abstract like a ghost. She is really there. The girls aimlessly flocking around the woman seem to match the definition of "ghost" better than her; their lazy floating makes them seem more like they are swimming than flying. Even their figures and forms are abstract, as they flicker into transparency from time to time.

What's above Shiki right now are the white woman and the girls floating as if to protect her.

The whole sight is not horrifying. No, this is more like...

"Hmph, this is indeed demonic."

Shiki sneers.

This woman's beauty is no longer that of a human's. Her black hair is especially luxurious, each strand with a silken sheen and texture. If the wind were stronger, her figure with hair flowing about it would have been a profoundly beautiful image.

"Then I shall have to kill you"

Perhaps hearing Shiki's murmur, the woman looks down. The woman is four meters above this rooftop which is already over forty meters high. The woman’s and Shiki's gazes meet.

There are no words to speak, nor is there a language to communicate with.

Shiki reaches a hand into her leather jacket and draws a knife. A small sword by any other name, with a blade perhaps some eighteen centimeters long.

Shiki's consciousness is filled by the killing intent of the gaze piercing down from above her.

The white figure sways. Her arm flows and a slender finger points at Shiki. That slender, fragile arm does not remind Shiki of white.

"... More like bones, or a lily"

In the windless night, her voice hung in the air for a long time.

---- The will put into the fingertip is the intent to kill.

The white fingertip points at Shiki.

Shiki's head sways. The thin body steps once to regain its balance. But only once.

"---------"

The woman overhead hesitated a bit from that.

The suggestion that "you can fly" is not working on this person.

Her power can give someone the impression that "they were flying" - more of a brainwashing than a "suggestion" by any normal definition. There is no way to fight it, and as a result, one actually tries to fly, or conversely runs away from the fear of being able to fly. But Shiki was able to withstand it with just a small daze.

"---------"

The woman wonders if the contact was too weak, and decides to use suggestion again.

But this time, stronger. Not a weak impression like "You can fly" but she orders firmly: "You have to fly!"

But before that, Shiki looks at the woman.

One on each of her legs, one on her back, and one point on her left chest. The cutting section named death can be certainly seen. The one on her chest would be a good one to aim for. That would be an instant kill. Whether this woman is an illusion or something else, as long as it's alive, even if it were a god, I'll kill it.

Bringing the knife to bear in a firm reverse grip, Shiki glares at the enemy in the sky.

The impulse assails Shiki once more.

...I can fly. I can fly. I liked the sky from before. I was flying yesterday too. I could probably fly higher today. Freely. Feeling peaceful. Laughing. I have to go quickly...

Where? To the sky? Free? ... That's...

Escape from reality. Yearn for the sky. Reaction to gravity. No feet on ground. Flight under unconsciousness.

Let's go, let's go, let's go, let's go, let's go, let's go------------------ GO!

"You've got to be kidding me."

Saying that, Shiki raises the empty left hand.

The suggestion does not work anymore. Shiki is not even fazed.

"I don't have that kind of admiration for the sky. I don't feel alive, so I don't know the pain of living. To be honest, I don't care about you at all."

...A murmur more like singing.

Shiki does not feel any restraint, joy or sorrow in life.

That's why Shiki is not attracted to the liberation from pain.

"But I don't like you keeping him. I got him first, so I'm taking him back."

Shiki's left hand grabs the empty air and pulls back.

As if being pulled by the left hand, the woman and the girls are pulled toward Shiki like fish being reeled in with a net.

"---------!"

The woman's expression changes. She puts more resolve into her will and pounds it against Shiki.

If she could communicate with Shiki, she would have screamed

"Fall!"

Ignoring the curse, Shiki responds in an icy tone.

"You fall."

The knife drives into the chest of the woman as she is forced downwards. As simply and swiftly as slicing through a fruit, and with such precision that even the woman feels a brief glimpse of admiration.

There is no blood.

The woman, unable to move from the shock of the knife transfixing her chest, convulses just once.

Shiki casually throws the corpse over the tall fence, into the depths of the dark city.

The woman tumbles past the bounds of the rooftop and falls without a sound. Her dark, silken hair does not flutter, even during the fall, and fades into the night as her white robes are lost to the wind.

Like a white flower sinking deep into the ocean.

Shiki leaves the rooftop.

Above, the floating girls still remain...


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