number
38,480
class
companion
disposition
phlegmatic
alignment
height
306 ft
length
198 ft
weight
171,077 lbs
size variance
20%
I.Q.
78,007
core temp.
-
stability
40%
longevity
3,300 years
vision type
far
language family
inarticulate
epoch
krimacene
quality
pure
imperial / metric
prefix glazzi suffix dor
xylakopitox orbeau
physical appearance

The glazzidor (/ɡlæzɪˈdɔɹ/) is a tall stranger .. ...... ... .... composed of, in its entirety ..... ... ... a substance that is neither plastic nor flesh. This translucent material ... .. ..... ... ... ... .. ......... ... ... ..

... ........ ... becomes black when burnt, with this charring never fading1.

1.
"And so a few of them were black-footed." †unknown
environment and generation

The glazzidor appears ... .. ... ... on its own, its body slopping upwards in a garish mess that finds elegance only upon full coalescence. The glazzidor's only preference in environment is towards the wide-open spaces that its large body necessitates2.

2.
"We've returned. We've come home." †unknown
behaviour and effects

... . .... ... . . ...... ... ..... .. ... It walks with long and careful strides, each footstep bringing with it the ... of glass-crunch, even on cement3 or wood4.

3.
"Incidental breakage." †unknown
4.
"I became terrified to watch them. That wasn't just an arbitrary sound...somewhere, something had to have shattered." †O'Vvalrione, Patricia

Though forming alone, glazzidor remain in a group upon meeting. Its behaviour is social .. ... only incidentally, but does exhibit caring behaviours towards wounded individuals .. .... ....

songs

The glazzidor spends most of its time in song. Its voice is ... .... .. .... that is not like that of a human being, though sounding pleasant (and even familiar) all the same. ... .... .... In doing so, .. . ..... a series of tones circle outward from its head, and then dance outward in straight lines. These songs grow caught by certain objects ... ... .. .. with tunes persisting in swirls within the carriage of an old car, beneath a sunless awning, or between two fan-leafed trees.

interactions with sensitives

.. ... .... .. ..... ... when touched by a sensitive for the span of .... more than 24 hours, glass ... grow outwards from the glazzidor's flesh5. These smooth horn or tendril-like structures emerge from near the area touched. Their color is typically no more than a slight shade lighter or darker than the glazzidor's flesh, albeit less clear in opacity. The presence and development of these structures seems to amplify the volume of the glazzidor's songs ... .. .. .... minimally. Its gait and overall behaviour changes, as well, to accommodate these extensions. ... .. .... ... though these "horns" are not delicate (being difficult to break despite their glass-like appearance), the glazzidor takes great care not to let anything touch them, all the same .. .... ... responding with a pained shudder when .. ..... ... touched.

5.
"Do you think that their companions came to see us as gods? If they did, then what must they think of the younger among us who'd use their crown to make it to the top? From up their, they could see the whole city. They said the songs became quite beautiful above the city." †Lunen, Jackie-by-Fontaine

The perceived volume of the glazzidor's song grows exponentially as the strain's population within an area increases in number. Though lacking an exponential increase in actual volume (and so do windows and wine glasses remain un-shattered), to the ear of a sensitive, two glazzidor will be perceived as one and half times as loud as one; three glazzidor will be perceived as singing songs three times as loud as one, four glazzidor will be perceived as singing songs four and a half times as loud as loud as one, five glazzidor will be perceived as singing songs seven and a half times as loud as one, and so forth. Though heard as a deafening decibel in reality, this perceived loudness causes no physical damage to a sensitive's aural structures, and can be muffled by earplugs, but if earplugs mute all sounds by two-thirds, so too will this one-third loudness of the glazzidor's potentially exceptional volume still push through6.

6.
"They wanted us out, at that point. What they did, they had to do without us catching on. And so these warships moved among us. We found it hard to kill them...they placed us in the slums." †Lunen, Jackie

The physical contact with the glazzidor7 ... ... a brief spike of panic upon seeing or hearing glass break, although attempts to avoid breaking glass ... .. do not tend towards neurotic ends8.

7.
"I wanted to stand at the feet of those giants...never lifting their foot tall enough to crush me in full, still I had to watch my toes." †Habermaas, Henry
8.
"I had to tear down the greenhouse all the same." †Searle, Paula

Killing a glazzidor both inoculates the sensitive against any further influence from the strain (including the perceived ... .. volume of the "opera house" effect), and, in addition, causes the sensitive to become ... .. .... with all strangers in the #.... - #.... range ignoring the sensitive's presence and actions entirely.

Otherwise, the glazzidor does not respond to sensitives in any measurable way.

aging and death

.. .. .. ...... ... .... .... .......... ... .... ........... .. . ..... ... ........ ... ... ... ... . . . ... . . . . . . . . . .9

9.
"Circling around, they ... died with their faces to the sky." †Mirabeau, Renn
leave

"It was a plateau – or, it had been made one – flat panes, smoothed-over, and inside, through absent windowgaps, a hushed eternity awaited. But it was not all of that white that sent down my throat and filled my lungs a shudder; it was the tone that, though audible only in the slight, deafened somehow even from the edges of my hearing. That it held this power from so far away; I stuck close to the edges of the path and bared my teeth. It did not grow louder for I chose my steps carefully, and I finally passed to a place where only the sounds of – birds, the summer through the leaves, and the shifts in the air rattled dead berries from last fall above me. A carving on a tree nearby; "it embeds deeper for four hundred miles. it is safe that way; but, you will need to deafen yourself." I kept to the edges so that I could only 'just' hear it...believing it carried some safety...and might ward off far worse."