The Edo Files (Japanese Urban Fantasy)

Chapter 11: A Fishy Story
[x] No

You look at the fish dubiously. It stares back at you, unblinking, appearing just as dubious of you. You shake your head. "I will take one of the yams and one of the catfish, Mume."

"Your loss, Kinjo!" the fish-vendor says. She hands you your food and you depart, exchanging one last look with the mysterious skewered creature.

The last of the mists have dissipated by the time the messenger from the Office finds you on your patrol route. The young man pants slightly as you allow them to rest.

"Inspector Kinjo, you are called to the harbor," he says. "There has been an incident that requires the Office's attention."

The harbor of Edo is always bustling. Hundreds of ships ply the waters, as goods are shipped in at a prodigious rate to meet the appetites of the head of the shogunate, where the daimyos come to pay their respects. Osaka might be the most renowned center of commerce in Japan, but you would not know the difference by looking at the bay. Everything from rice and millet to fish and whale meat to the finest silks and golden jewelry arrives every day, and an equally bewildering array of goods leaves the docks, too. The inspectors and informants who police the harbors tend to be either serious and intelligent, with the sort of keen minds who can grasp the numbers behind the flow of trade, catch and identify smugglers, or they are corrupt and lazy. One can earn quite a good living accepting bribes from those who wish to avoid tariffs or import goods the Shogunate has banned.

The smell greets you first, that distinctive mix of salt water and rotten garbage that marks an active harbor. The sounds of seabirds are never too far in Edo, but here they gather in great droves, looking for scraps from the fishermen's vessels, some bold enough to swoop down and snatch directly from the nets.

The alleged victim is a fisherman, old, weathered and bent, with graying hair. He is hunched under a blanket, but appears to be still spry as he clambers to his feet to meet you on the deck with a deep bow. You incline your head and gesture for him to rise and he does so.

"Inspector," he says, "You are from the Office of… Strange Things?"

You resist the urge to gesture to your badge. You do not know if the old man can read, after all. Although Edo is a city of paper and letters, not all are taught equally, and a fisherman would hardly need to practice the skill regularly. Instead, you simply respond, "That will do."

"Good, good," he said. He looks up at you, something strange in his eyes. "The men here would not listen to me. He thought I was an old fool. But… my brother, he dealt with your Office. He told me that if I ever encountered anything strange, I should contact your Office and no other."

"Tell me."

"I took the Omura out early this morning. My partner and I, we operated it together."

"Your fishing boat is named the Omura?" You ask. Usually only the larger vessels would bear names, if then, and this man did not seem the type.

"My daughter is a great fan of the kabuki actor, and she insisted," the old man says, voice rough as he continued his story. "The sun had not risen, and the mists were thick."

"Did you often go out fishing in the mist?" You ask. "It seems dangerous."

"I've been fishing Edo harbor and the shores outside the bay since before your father was born, Inspector," he says. "I know every inch of shoreline, every rock. The mists were of no concern for me, as long as I rowed slowly and carefully, and the weather was gentle. If the winds are strong and the waves are high, well, there's no use tempting the gods. But I go out whenever I can, and it's better to fish when no one else is out yet. My nets, my boat, they feed my family. Or they did." He shakes his head. "I don't know what I'll do now."

"Go on," you say.

"Yes, well, it was a strange morning. The birds sounded different. I swear, there was a call I never heard before, almost like human voices."

"Were they saying anything?"

"It wasn't like that. It was more of a feeling. Dark tidings, anyway. Or maybe I was just in a mood. Anyway, after that were the fish. I saw seabirds circling - they all seemed normal enough - so I went out and set out my net. And the fish I pulled in - they were strange things. Dark skin, large eyes. And in the dark, they twinkled, almost like stars."

You recognize the description, though you hadn't seen the fish at Mume's stand glow. "Did you bring them in?"

"Well, I thought about it. I'd never seen them before, but maybe someone would still pay for them. Sometimes strange fish come to the harbor. I know every type of fish one can pull from the bay and the waters outside, but sometimes the ocean throws a surprise your way."

"And what did you decide?"

"I didn't have a chance. As I was looking a the fish, I felt something bump underneath my boat!"

"You mean you hit a rock?"

The old man shook his head. "No, Inspector. There were no rocks where I was. Like I said, I know the harbor better than my own face. No, my boat didn't hit anything - something hit my boat."

You are not exactly an expert on sea life, but you did grow up on a coast. "A shark, maybe?"

He shook his head again. "No, Inspector. I've seen plenty of sharks. They might steal fish, if you're not careful, and you wouldn't want to fall in the water when they're in the area, but they don't attack fishing boats."

"Attack?"

"Yes. The first strike was only the beginning. It came back again. I could hear the wood creaking under the force of it. I didn't know what to do, so I started rowing for shore, as quick as I could."

"And were you quick enough?"

He shook his head. "The third strike… the boat fell apart. I fell into the water. Thankfully, I wasn't far out… I grabbed an oar to help me float, and I used it to swim to shore."

It was a harrowing story. But it left out one very important part. "Even if you're sure it wasn't a shark, at least not a shark you recognized," you raise a hand to forestall his protest, "that would just be an animal. A matter for the harbor authorities. What made you ask for our Office specifically?"

He stared into the middle distance for a long while without answering. "I've spent my whole life going out on the ocean. I've seen things. Kami dancing in the clouds. I've heard the calls of ghosts who died at sea. Seen the lights dancing above ships at night. But never anything quite like this. When I fell into the water… I saw something. I saw bones. The water was full of bones."

"Human? Animal?" You press.

The old man looks at your strangely. "I didn't get a good look. I was trying to get away."

"I understand. Thank you." You pause. "There is a reward, for credible reports of dangerous yokai. I will see you receive it."

The old man stammers out thanks, and you step out of the cramped room you'd been using as an interview chamber. The harbor official who brought you in follows you out.

"Do you know this man?" You ask. "Is he reliable?"

"I've seen him bring his boat in and out plenty," the official says. "As to reliable… well, he's never brought me a story like this before, that's for sure."

"The fish are real enough," you say. "A fish-seller tried to offer me a strange-looking fish this morning."

"Well, it doesn't happen often, but storms blow, earthquakes happen, currents take strange turns. Sometimes things come up from the depths. Strange birds, well, who can tell one bird from another?"
"Perhaps a fisherman, who uses birds as a means of locating his prey," you say. The harbormaster gives a noncommittal grunt. "What will you do?"

"Me?" The official looks at you.

"There has been a reported hazard to navigation in the harbor." You gesture outwards, towards the bay full of ships. "How will the port authority deal with it?"

"You can't expect us to - to shut down shiping over one old man's story, surely?" The official looks a little pale at the very thought of it. "He was probably drunk and crashed his boat."

In theory, you could order it under the Office's authority. But, while you find the old man's story credible, it is just one story, and there is no way such an order would survive the hour before one of the Magistrate's men overrode it.

"Besides," the official said, "if the old man is telling the truth about his boat being attacked, he must be telling the truth about the bones, eh? If it's a yokai, you just have to deal with it. Get an exorcist in and-" the man waved his hands vaguely.

If only it were that simple. Bones must surely mean something to do with the dead, and your encounter with a vengeful onryo in the past had left you with the impression that ghosts could be devilishly persistent and difficult to deal with. Your sword and other enchanted weapons could disperse them temporarily, but they might simply come back stronger. You had been told ghosts often had to be appeased rather than driven away by brute force. And why would a ghost be attacking a fishing boat? The story reminded you of something, some story you heard once but can't remember.

"Issue an advisory, at least. You can be as vague or as detailed as you want, but people should be prepared." You are going through your options when the same runner who approached you before comes back. "Inspector, you are needed at the Office!"

"What is it?" The expression on the messenger's face is alarming.

"People have come to the Office to give reports." He pauses. "Many people."

Some say there is a quirk of the Office, some magical effect that means that only those who are truly in need will find their way to the Office's doors. That has not exactly been your experience, and for those who believe it, their beliefs are truly tested today.

Then again, of those who have reported, all of them appear to have had a real supernatural experience.

You spend your afternoon and much of your evening in interviews with concerned citizens, a secretary taking down notes in the cramped room with you as you listen and ask questions.

"I had just gotten breakfast, when I felt this strange sensation"

"-It was like I stepped from my life into a dream!"

"I dreamed of a moon that was a red, bleeding hole in the sky! Then I looked down and saw the same hole in my chest!"

"Thunder and lightning, storm-tossed waves, and I felt myself drowning!"

"A song that I felt rather than heard. A song of pain and mourning that vibrated through my very marrow!"

Piece by piece, interview by interview, you put together the situation. The victims were not asleep, but have had visions or daydreams of dark portent that felt like waking nightmares that lasted moments but felt longer. The details differ, but there is a general theme of the sea, of pain, of blood. However, there is little to link the victim's lives or circumstances together, besides the fact most of them reside or work near the harbor. Which, of course, gives you plenty of reason to suspect a connection to the fisherman's encounter with an aquatic yokai.

There is another commonality, though.

All the dreamers had partaken of the strange fish that had been on sale in the harbor that morning. None of them seem to have any sickness or disrupted digestion - none of them reported any unusual taste to the fish. Some didn't even realize the link themselves, the dreams happening minutes to hours after the meal. But there is no escaping the connection.

Somehow, it is no surprise to you that when you make your way back to your office, the case has been officially assigned to you.

The day has come to a close. On the morrow, you must begin your investigation. What will you do?

[] You have additional questions for the fisherman or the dreamers.
-[x] Write them in here.

(This can be combined with other votes, and I'll try to respond to any questions that are reasonable. But please also choose another investigative path as well, or the update will potentially be pretty short).

[] You will send for some of the strange fish in the harbor and have them investigated
-[] You will ask Urakama to do the investigation
-[] You will ask for the services of the court onymoji you have worked with before

[] You will go back to the harbor and see what you can find out, taking a boat out yourself if necessary
-[] You will go alone
-[] You will bring Amaya
-[] You will bring a spirit medium along.

[] You will research the stories you have heard in the Office's archives of folktales and verified experiences. Perhaps there is a similar story?

[] Write-in
 
I am inclined to try for different characters this time. I'm sure Urakama and Amaya will be seen again.

Hmm... Perhaps it would make sense to find out who did successfully catch these strange fish. But perhaps they saw nothing else unusual.
Would asking around about who caught those fish be 'additional questions for the fisherman'?

Can't think of anything for the dreamers. All seems too vague.
 
[X] You have additional questions for the fisherman or the dreamers.
-[X] Fishermen: Where in the harbor did you catch the fish?
-[X] Fishermen: What were the conditions like when you caught the fish?
[X] You will research the stories you have heard in the Office's archives of folktales and verified experiences. Perhaps there is a similar story?
 
Let's try to expand the cast a little.

[x] You will send for some of the strange fish in the harbor and have them investigated
-[x] You will ask for the services of the court onymoji you have worked with before
[x] You will research the stories you have heard in the Office's archives of folktales and verified experiences. Perhaps there is a similar story?
 
[X] You will go back to the harbor and see what you can find out, taking a boat out yourself if necessary
-[X] You will bring a spirit medium along.

[x] You will send for some of the strange fish in the harbor and have them investigated
-[x] You will ask for the services of the court onymoji you have worked with before

[X] You have additional questions for the fisherman or the dreamers.
-[X] Fisherman: Do you know any other fishermen who caught some of the suspicious fish?

[jk] Buy one of the fish and eat it

Seems like talking to other fishermen might be most useful to start, possibly finding the site ourselves. Right now, I'm not sure "weird, waking dreams" is enough to go on.

I'm also not sure us personally investigating the fish is useful -- I don't think we really have the expertise. Better to let someone else handle it.
 
[x] You will send for some of the strange fish in the harbor and have them investigated
-[x] You will ask for the services of the court onymoji you have worked with before
[x] You will research the stories you have heard in the Office's archives of folktales and verified experiences. Perhaps there is a similar story?
 
[x] You will send for some of the strange fish in the harbor and have them investigated
-[x] You will ask for the services of the court onymoji you have worked with before
[x] You will research the stories you have heard in the Office's archives of folktales and verified experiences. Perhaps there is a similar story?
 
[X] You have additional questions for the fisherman or the dreamers.
-[X] Fishermen: Where in the harbor did you catch the fish?
-[X] Fishermen: What were the conditions like when you caught the fish?

[X] You will send for some of the strange fish in the harbor and have them investigated
-[X] You will ask for the services of the court onymoji you have worked with before
 
Chapter 12: Look, Up in the Sky!
[x] You will send for some of the strange fish in the harbor and have them investigated
-[x] You will ask for the services of the court onymoji you have worked with before
[X] You have additional questions for the fisherman or the dreamers.
-[X] Fishermen: Where in the harbor did you catch the fish?
-[X] Fishermen: What were the conditions like when you caught the fish?
-[X] Fisherman: Do you know any other fishermen who caught some of the suspicious fish?

As the old man finishes his story, you ask him, "Where in the harbor did you catch the fish?"

After some discussion, you obtain a map of the harbor and are confident you could find the spot again. It is an apparently unremarkable stretch of water a few miles out from the place where the fisherman docked his boat. The water is deep there, though not impossibly so. There seems no significance to it. But you take note nonetheless.

After poking at some maps both modern and historical, I feel like trying to nail down an actual location in Tokyo Bay would just be inviting error, so I'm not going to do it. But Kinjo knows where it is.

"What were the conditions like?"

"It was dark, though the dawn's-light was starting to come up. Cold, but not unseasonably so. There was some fog, but not so much that I felt unsafe."

"Did any others catch the fish?"

"I suppose so," the old man said, "Many fishing boats ply the bay every day." Later, you confirm that at least two other boats had brought in the… dreamfish? Ghost fish? Onry-roe? The wholesalers would not take them at a good price for the fishmarket, being a different species, so instead the fishermen sold their catch where possible and they mostly ended up in stalls, carts, and private cooking pots.

Notices are posted around the harbor, forbidding further sale of the fish. It is better to be safe than sorry, after all.

Your night passes blessedly free of dreams, supernatural or otherwise.

In the morning, you begin your stretches and sword practice. As you do not employ a cook, most of your meals are taken outside the home or ordered in. This morning, breakfast arrives via its scheduled delivery - fish, rice, soybeans, and pickled radishes. You poke at the fish uneasily, but it appears to be the usual sea bream rather than anything more suspicious.

Your morning consists of more interviews, more reviewing of reports from the witnesses. Thankfully, no one appears to have had any followup symptoms, at least not beyond those already reported. Nor are there any new reports of disasters in the harbor, something you are personally grateful for. There are a few reports of strange lights in the water, though, and an akaname sighting in a bathhouse.

Soon enough, though, you find it is time to move onto the next phase of the investigation. You had considered consulting with Urakama again, but this is not exactly in the scope of her specialties, and besides, whatever is behind the fish and bones, it poses a potential threat to the harbor and has affected the lives of a number of citizens. This is a matter to be handled at a higher level. And so you contact Lord Tsuitsui. You have worked with him before. He is… capable.



"Kinjo!" Tsuitsui says, bowing extravagantly, shockingly low for one of his rank, so that the tassels on the ends of his sleeves barely touched the floor. "It is a pleasure as always! You are looking well. I'm pleased that the matter of that centipede-demon and its mistress left you no worse for wear."

Tsuitsui asked you to bring those specimens of the strange fish that your Officer could locate to his residence, where he maintained a workshop for magical matters. The receiving room you find yourself in is appointed with bric-a-brac of remarkable variety - statuettes carved in ivory and jade, wall hangings with abstract geometric patterns, the skull of a strange horned beast from a far-off land. But stranger still is the lord of this place.

Lord Tsuitsui once told you that, as a magician, it did no good to pretend to be respectable. Even if the Board of Onmyoji's day to day work was most heavily involved in astronomical observations, weather predictions and other divinatory processes, the aura of mystery and magic still held close to them like a cloak. It was better, then, to give people what they expected.

Tsuitsui is a tall, willow-slender man, perhaps a decade and a half your senior. His kimono is an eye-catching combination of purple, peacock blue and gold trim, and his hair is long enough that it might reach to the floor were it not bound with a complicated set of sticks and clasps, and streaks of dyed colors run through its length. Jewelry of brass and silver decorates his ears, throat and fingers. It is only his sandals that appear blessedly normal. His eyes are bright and cheerful, and he makes no attempt to don the mask of formality that is expected of one of his high station.

At times you have been horrified he might attempt to hug you. Thankfully he is keeping his distance now.

"Thank you for agreeing to work with us, Lord," you say.

"Not at all. It sounds like quite an interesting conundrum." Tsuitsui said. He gestures towards the chest of fish you have brought with you, and a servant glides out from a nearby hallway to take the prize.

The highest ranks of the samurai choose their servants on personal preference. Many prefer men and women of ornamental beauty. Others value those for their ability to appear invisible. Tsuitsui's servant is devoid of any distinguishing features. Its face is only a vague suggestion of a human, covered with enough magic that it takes close attention to see through it. There is a trick to it, like crossing one's eyes, that you learned the last time you were here.

"I see your taste in servants has not changed," you say, trying not to show discomfort.

"Paper dolls are much more convenient than humans," Tsuitsui says. "I don't have to worry about dismaying them, or being gossipped about, or complaints about working conditions. They do it all well enough. Save for cooking - the fire and steam is bad for the paper. And they do not play music well - their spirits do not understand it."

"Well," you say, "I am glad you are ready to begin."

As he leads you and the servant to his workshop, you fill Lord Tsuitsui in more thoroughly on the results of your investigation so far - the strange dreams, the fish in the harbor, the strange encounter of the fisherman.

"How fascinating," Tsuitsui says. "I have several theories already. I cannot wait to test them."

The workshop is surprisingly functional, compared to the extravagance of the rest of the house. Glass alchemical equipment, jars of powders and potions, diagrams of geography and meridians, and a circle scribed with Chinese characters relating to the elements all catch your eye. The servant brings the chest over to a sturdy wooden table, and Tsutsui ties his hair back into a bun and tail while the servant removes a few of the fish, placing them on waxed paper.

Tsuitsui takes a metal rod from a tool rack and pokes the strange creature, making small sounds under his breath. "Fetch me the Way of Wind and Water and the Record of Ancient Matters." The servant scurries off to fetch the required texts, and you two are left alone.

"You said the fish displayed bioluminescence?" Tsuitsui asks. You give a brief look of incomprehension. "Glowed in the dark?" He clarifies. You nod, and he goes to cover two of the oil lamps currently providing light to the room.

Indeed, in the shadows, the fish sparkle blue-green, faint fox-fire moving along their lengths. Tsuitsui hmms some more. "While eerie enough, these would not be the first fish or jellyfish to provide such lights. You are certain that the visions reported were not the result of some hallucinogenic poison?"

You shake your head. "I do not think so. None of the dreamers reported any feeling of sickness or confusion other than the vision itself. It was as if they stepped from the waking world into a dream."

"I see, I see…" the onmyoji pulls out a vial and adds liquid from several different beakers to it, then mixes in a powder. He cuts a piece off one of the fish, fingers skillful despite the jeweled accessories, and drops the piece of fish into the liquid, which immediately turns the color of dark, rich blood. "Hmm…"

Taking one of the other fish, he lays down a diagrammed sheet of rice paper, then puts the fish on top of it. Stepping back, he speaks a chant, fingers extended in a Taoist manner. "Messenger of the deeps, reveal your secrets to us!"

There is a brief flash, and an indescribable smell of burnt… something. Tsuitui removes the fish, then takes careful note of the marks that have appeared on the diagram. He makes further sounds, and swiftly calligraphies notes.

"I don't suppose you'd be willing to eat one right now to test it, Kinjo?" Tsuitsui asked. He spares you from having to answer as he shakes his head at your expression. "I thought not. Ah, thank you," he said, as the servant arrives with both of the volumes Tsuitsui requested. He spends several minutes pouring over each.

Next, he slices the fish open, examining its small organs, weighing them in a small scale made of gold. He sniffs each, holding it in his hands, poking them with his metal stick. You are seized by the image of him popping one into his mouth like a rice ball, and are relieved when this vision does not come to pass. He then places each organ in a different glass vial, adds more powders, some of which bubble, others of which change color, and then makes more notes on each.

Finally, he looks up at you. "I believe the fish are due to the manifestation of a yokai's abilities."

You stare at him, a bit nonplussed. "I… had assumed as much."

"And you were hoping for more, but you do not tell me such. We'll make a courtier of you yet, Kinjo." He shakes his head. "I don't believe the fish are supernatural themselves - they are likely some deep-dwelling creature. But they have been touched by the power of something of the world outside the firelight. Which is why those who ate them ended up experiencing what they did."

"I thought you were being poetic, when you called them messengers."

"That's the funny thing! I was! But sometimes, the world is more poetic than even my beautiful soul. Yes, I believe the fish are a message. Or perhaps a warning. No, a portent! Portent is an excellent word." He swiftly writes that among his notes.

"A portent for what?"

"For the real yokai, of course." Tsuitsui blinks at you. "If I was a wagering man, I would wager it was whatever it is that your fisherman encountered in the harbor."

"Do you happen to know what it is? Was it a ghost?"

Tsuitsui shakes his head. "You know how difficult it is to be certain of these things. Bones, mournful omens, those things could be associated with an angry human spirit. But attacking a fishing vessel? Controlling sealife? Those things are most peculiar. I would think that more in the domain of a hostile yokai."

"Have you heard of such a thing?"

He shakes his head. "I do not recall it. But I will conduct further research into the matter, certainly."

"Thank you for your time and insight, lord." You turn and are about to leave when Tsuitui's voice calls out.

"Where are you going, Kinjo?"

You turn smoothly. "To… find another method of investigation? While you conduct your research?"

"Ah, but what about our entertainment tonight?"

You blink. "Lord…?"

"You are to accompany me to the performance of Urashima Taro at the Southern Star theater, of course."

You blink again.

"Ah, I must have forgotten to inform you." He shrugs elegantly. "No matter. You are not otherwise engaged tonight," this is said as a statement rather than a question, "and are quite enjoyable company."

"There are, ah, no gentlemen or ladies more fitting your rank to accompany you?" You flail, hoping desperation evades your voice.

"For some reason, no! Perhaps there is still some concern about those troublesome reforms from a few years back… even though they have been revoked. There is noh, of course, but it is hardly the same as kabuki. Besides, it will do you good. If I did not capture you this evening, you would most likely spend the hours on sword practice. While devotion to a craft is desirable, one must nourish the spirit as well to become a true master of anything."

When one is caught in a strong current, one cannot fight against it. Instead, one must steer oneself to safety. You have enough experience to know that fighting Tsuitsui directly would be futile. Instead, you bow acceptance.

Perhaps it will be enjoyable after all?


It has been a rough few years for kabuki in Edo. When the fires burnt down the theater district, the shogunate was already considering what would later become the Tenpo reforms, a series of crackdowns on everything from hairstyle to diet to entertainment. As a result, the theaters were not allowed to rebuild, and instead were pushed from Edo proper. Then came a very lively cat-and-mouse game between the magistrates and performers/patrons as illegal performances flourished more quickly than they could be stamped out. Eventually, equilibrium was reached, with the theaters establishing themselves in the Saruwaka-machi district of Asakusa, technically outside the limits of Edo itself. Even now that the reforms have been repealed, the theaters stay, and the patrons stay as well. Between the geisha houses, guest-houses and restaurants here, it was becoming a very popular pleasure district.

Tsuitsui, of course, would have no wish to blend in anywhere, but against the backdrop of the colored lanterns, beautifully kimonoed geishas and wood-block theater posters, his extravagance somehow seems to match the energy of the place. Insofar as you are remarkable, it would only be by contrast to your colorful companion - your clothing is reserved, and you are one of dozens of samurai in the district tonight. In fact, you pass a pair of them speaking to a geisha in a kimono patterned after the evening stars.

For a moment you tense as they seem ready to come to blows over jealousy, but you see the woman defuse the situation with a joke, and the mood relaxes. Tsuitsui catches none of it, distracted by a cart selling sweet potatoes. Given that he hands you one without asking first, you can hardly complain, though you despair a bit for his laundress given the quality of his robes. You imagine that is another function the paper dolls cannot serve too well.

The theater is an impressive wooden structure, wide and dignified, with colored flags and fancifully shaped paper lanterns swinging gently in the evening breeze. The crowd outside is boisterous and the mood is festive. Samurai, merchants and commoners alike come here - the seats are different, but the show is the same to all.

"See, Kinjo? This is life!" Street performers ply the crowds before the show. Tsuitsui kneels down to watch as a trio of monkeys caper to a woman's shamisen playing, the lantern-flames making their shadows strange on the walls of the theater behind them.

You watch a juggler accepting items from the crowd and hurling them into the air with exaggerated abandon. He is as skilled at pantomime as he is at juggling, appearing to stagger about as if drunk, often seeming just about to miss a catch before skillfully intercepting each one. In spite of yourself, you smile.

Before long, the drums of the theater ring out, and announcer emerges, calling out the performance of Urashima Taro, a tale of enchantment, mystery and… betrayal?

"Isn't the story more of a fairytale?" You ask Tsuitsui.

"Well… I suppose they have to update it. The modern style, you know." Tsuitsui seems unconcerned, filing into the theater, and you follow.

At the least, you have the benefit of Tsuitsui's rank and wealth, which results in a box seat close to the action. Much of the rest of the audience mills about in the pits below the stage, which consists of a broad wooden run-ways criss-crossing its way across the theater, with a central area observable from all sides.

The lights are dimmed, and the performance begins with dancing figures in extravagant costumes of scales and shells, representing the court of the kingdom under the sea, and a beautifully begowned Princess. The Princess of that kingdom is bored, it would seem… though 'her' coquettish gestures (for this theater holds with the tradition that all actors are male) indicate it is not merely relief from boredom she wants, but certain other desires of the flesh, that for some reason the men of her kingdom are unable to satisfy.

There is no tradition of respectful silence in kabuki. The audience eagerly offers helpful suggestions, and the Princess responds, growing alarmingly anatomical. A suggestive seashell is produced. The actor feigns outrage at some of these suggestions, while giving out winks and blown kisses at others.

In the original tale, Urashima is a fisherman who helps a sea turtle in distress, who happens to be a magical dragon turtle, a creature who takes him to the Princess's kingdom, where he is treated to a life of lavish luxury. He worries too much about his life above the waves and those he left behind, and begs to be let back to visit. He is given a box he is told never to open, and when he arrives on shore, he finds that centuries have passed. In despair and anger, he opens the box, only to find the years he whiled away are contained therein, and he dies in sorrow and despair.

As the scene changes, two men sit. As Taro is played by Omura Nikki, the great leading man, there is an immediate burst of applause and catcalls. Tsuitsui grips your arm with excitement. "Ah, Kinjo, is he not handsome?"
"Of course," you say. "He is very striking." Omura has a smoldering gaze, with strong cheekbones, and you can see the appeal, but he has never captured you the way he captures others. Still, he pulls you into the story immediately with the strength of his emotion.

"Ah, brother," he cries. "You cannot compare wealth with passion! You always dream of making it rich, even as a simple fisherman. But I say that love is the greatest prize of all."

"But Taro, with as much wealth as I desire, I could buy as many beautiful women as I want!"

"Beauty is nothing without the feeling behind it! There are many beautiful women, I want only one!"

The two argue as they "row" a boat across the stage, pulled via strings and wheels. Soon, the night turns stormy - the lights are dimmed, sheets of metal are shaken, gongs are struck, and flash paper and hooded lanterns are used to simulate lightning.

The turtle is a simple puppet, but the real masterpiece is the monstrous whale that menaces it - a creature of cloth and paper, a vague, terrible form that descends from the ceiling to circle around the boat. "The effects are impressive," you acknowledge to Tsuitsui.

The fishermen drive off the monstrous whale, and are rewarded by the sea turtle with a trip under the sea, to the kingdom of the Dragon King. There is more dancing as the fisher-heroes are welcomed. The dancing stops as the eyes of the Princess and Taro meet, a case of love at first sight.

Meanwhile, the brother, well… he encounters desire of a different sort - the massive, beauteous pearl that is the source of the Dragon King's power. "Mmm, Korean influence," Tsuitsui notes. "They say there are Korean dragons with a stone in their head that gives them their power. I wonder if I could examine one…"

Wonders abound in the undersea realm, but Taro has eyes mainly for the Princess, as they fall in love, a forbidden affair between man and dragon-woman. Time passes, though in this strange world, it's hard to tell how much time…

Finally, events come to a head, as Taro's brother seeks to steal the massive pearl along with all the wealth of the Dragon King. Taro, seeking to prevent this, pursues him as the kingdom threatens to collapse without the power of the pearl. A chorus of shouts of panic and despair ring out, as the story reaches its climactic confrontation. But then…

You suddenly realize that the sounds of yelling are not some dramatic chorus, but something coming from outside the theater. You stand up with a start. "Kinjo?" Tsuitsui says, before he notices and stands as well.

A shiver runs down your spine, as a sound rumbles through the theater, so low it is felt more than heard. Grabbing your sword, you dash out the back of the box, getting the vague impression of a colorful streak following you in the corners of your vision.

Outside, you see the source of the shouts, as dozens of people point to the sky. That strange un-sound bellows out again, and you think that, were it not so noisy, you might hear the cries of strange birds…

Bones, is your first thought. Bones indeed.

Swimming through the air above the theater district is a massive, skeletal whale, lit by oscillating lights like you saw on the lines of the mysterious dream-fish. You cannot tell, right now, what it intends. But if you have ever heard a matter for the Office of Enigmatic Affairs, this is it. You grab a nearby messenger who was gawking at the sky, and send him to the Office, looking for… backup? You are not entirely sure. Tsuitsui, meanwhile, is surrounded by a small cloud of paper cranes, though he looks just as lost as you.

What do you do next?
[ ] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.

[ ] You cannot allow such a powerful and dangerous yokai free reign. You will attempt to engage it and drive it off. Surely you can lay your hands on a bow, or a firearm, or… fireworks? Perhaps it will pass close enough to a low hanging building that you can attack it with your sword?

[ ] A mysterious yokai has appeared, but it may not be hostile. Get closer to it and study it, trying to unravel what you can about its motives and abilities.

[ ] Write-in:
 
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hmmm....

We've got a yokai resembling a bone whale, along with dreams of being stabbed in the chest, but also dreams of drowning.
I would suspect a vengeful yokai born from the killing of a whale, except there doesn't seem to be any hostility from it.
But that doesn't mean it isn't dangerous.

I wonder if it is it a warning of some sort?
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.

I would die and/or kill for Lord Tsuitsui. Anyway, I think we should prioritize getting the civilians safe and out of the way. Less liabilities, gives the Office time to marshal some forces, and just generally feels like the thing Kinjo would feel is the most pressing. Attacking and investigating can hopefully wait until there's less of a crowd.
 
Tsuitsui sounds more like a Chinese name than Japanese.

Where is our backup?!

[x] A mysterious yokai has appeared, but it may not be hostile. Get closer to it and study it, trying to unravel what you can about its motives and abilities.
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.

for a moment you tense as they seem ready to come to blows over jealousy
*For

We've got a yokai resembling a bone whale, along with dreams of being stabbed in the chest, but also dreams of drowning.
I would suspect a vengeful yokai born from the killing of a whale, except there doesn't seem to be any hostility from it.
But that doesn't mean it isn't dangerous.
Yeah, I'm a little worried. On the one hand, a whale is probably less inherently hostile, compared to something like a shark youkai. On the other hand, IRL Japan doesn't have the best track record when it comes to whaling, so I could see this version of Japan really angering the whale youkai.
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.

I wonder who is the turtle in this situation?
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.
A modified performance of Urashima Tarou right as we're dealing with mysterious undersea dealings, how foreboding.
 
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.
A modified performance of Urashima Tarou right as we're dealing with mysterious undersea dealings, how foreboding.
 
Chapter 13: A Whale of A Time
[X] The important thing is to avoid panic and evacuate. Take control of the situation on the ground. Climb onto the announcer's podium and begin directing the crowd away from the area.

Your eyes dart back from the Yokai to the crowd. People are merely gawking right now, but that could change at any moment. Although people in the countryside may deal with bakemono and kappa and local kami, it's rare for those in a major city like Edo to come face to face with a yokai of this scale. Soon enough, the wonder will turn to wondering, and that wondering will turn to fear. And fear, in a populated district like this…

"We must avoid a panic," you say to Tsuitsui. "Can you help me corral the crowd?"

"Ah, Kinjo!" Tsuitsui says. His gaze is fixed to the sky "You ask me to turn away an opportunity like this? To study a new yokai of such obvious power and significance? I would be sacrificing my opportunity to add my name to the annals of scholarship!"

"Preventing a stampede first, my lord." In a crowd like this, the dangers of a panic cannot be overstated.

Tsuitsui sighs. "Very well!" He begins whispering something to his paper cranes, and you meanwhile leap up onto the drummer's platform where the theater announcer stood hours prior. You strike the drum a couple times. "Attention!" You cry out. "There is no need to be alarmed. The Office of Enigmatic Affairs will address the situation with the yokai. We ask that you leave the area in an orderly fashion, so as not to impede our work. We are

You are worried at first that your voice will do little to carry among the confusion, but to your surprise, you hear the voice echoing from various places down the streets. You notice one of the paper cranes that Tsuitsui had animated is hovering above you. It appears he is using them as some sort of relay. All to the good.

The onmyoji's hands seem to blur as he works to make more of the birds. Over each one, he breathes what appears to be a small glowing orb of light, at which point it leaps to life.

As far as spirit assistants go, the small ones Tsuitsui prefers are no demonic multi-headed centipede, but they have their uses.

There are still people waiting and gawking near you. The Office does not generally have good things to say about civilians who hang around and look at supernatural events happening nearby. However, they at least appear not to be paralyzed. You point to a burly man who you recognized as a sort of security for the theater. "You. You are deputized by the Office of Unusual Insight. Go a block to the north, establish a lane for anyone slow or elderly to pass. Make sure there are no stampedes." The man stares a moment, then nods, seemingly filled with the spirit of duty. You repeat the process several times, sending your deputies in all directions.

Ultimately, you are faced with a serious issue. This is a theater district, with three major theaters and at least a half-dozen ones of less standing, and as many geisha houses besides. There are hundreds, perhaps thousands of people indoors right now. Should you send messengers inside to try to bring the people out?

No, you decide. Trying to extricate hundreds from inside a packed building would cause more chaos than it could possibly prevent. You will have to live with your uncertainty as to whether you are doing the right thing.

It's at this point that the un-sound ripples out again. This time, it sounds almost like music, a deep, mournful cry. It's loud, though strange to your ears, and it has a strength to it beyond its volume. Lanterns begin to sway in the not-breeze, and you think you can see the fabric of the theater shake, almost like an earthquake. Thankfully, the damage is much less severe than a real quake, but it still changes the atmosphere instantly.

A chorus of yells and screams echoes forth, seeming almost to be one voice rather than dozens that darts across the district like a dragonfly as fear takes hold. Patrons are already starting to pour out of the theaters. Thankfully, those you have deputized and Tsuitsui's paper cranes are there to guide them safely and efficiently down the streets, and it looks like the worst effects of panic are being mitigated.

It is then that the backup arrives from the Office, a force of twelve doughty, serious-looking men armed with spears that pierce their way through the flow of traffic like the weapons they bear. They are led by Inspector Matsuda, who must have been on duty tonight. Bearing a half-dozen weapons, from wakizashi to naginata to firearm and clad in armor, she strikes an imposing figure in the lantern-light. "Kinjo," she says as she nods to you.

"Inspector Matsuda." While you are technically of the same rank, she is senior to you, and you find her experience somewhat reassuring.

She gazes up at the sky. "Give me the situation."

You resist the urge to simply gesture upwards. "The yokai above, it bears some connection to the strange fish in the harbor. It is simply circling above for now, but its roars are dangerous enough to shake buildings. Lord Tsuitsui and I have been evacuating the civilians as best we can, but once the theaters start to empty, the situation will become more dangerous."

"Good work," she responds. You see her evaluating the whale and imagine you can see her judging the effectiveness of a rifle shot at this range, before she seems to dismiss it. "I think -"

It's at this point that you see a firework arc up into the air, bursting near the yokai in a shower of colored sparks. It wheels around, looking for the source of the disturbance, and spots it the same time you do.

A small cluster of guardsmen - not from your Office - have gathered themselves near a hand-wringing cart owner. They appear to already be setting up a second salvo.

Your feet move like the night wind as you dodge through the crowd.

Three more rockets rise into the air as the samurai let out cheers of self-satisfaction. They burst around and through the whale, one shot appearing in the creature's rib-cage, but the sparks seem to pass right through its form. It does, however, respond.

One more great un-roar, loud enough that even though its focus is not on you, you see the effects.

The fireworks stall shakes and splinters fly from it. You tense in anticipation of disaster, but there appears to be no explosion - the fireworks must not have sparked.

The effects on the people are more drastic.

The merchant stumbles backwards against the side of the street, clutching his ears. The guardsmen collapse to their knees, hands to their ears as well, but their eyes appear to bulge and leak blood, not quite bursting. One writhes on the ground and vomits, the other simply sinks down, shaking his head, before quietly collapsing. The whale yokai flicks its tail, and begins "swimming" off in the direction of the harbor.

Adrenaline spiking, you move to give chase, but you feel a strong hand clasp your shoulder. "Kinjo," Matsuda says, having caught up with you. "It is no doubt retreating to the harbor. Do you have a means to chase it into the ocean? Or a plan for what to do once it is there?"

"...no." You acknowledge.

"Your courage is admirable, and you will be commended for your actions here, but unneeded for now." "This was to be a night off for you, was it not? I suggest you exercise the rest of it. My men and I will handle the reports and calming people down."

You raise a hand to protest.

"Can we simply skip the part where you say that it is your duty, and I point out that everything is well-handled as it could be, and the harbor will still be there tomorrow?" Matsuda interjects.

You stare up at her, meeting her gaze. She does not blink.

You deflate. "Very well." Matsuda strides off, calling out orders to those assembled.

You turn back to the theater, and to find your companion for the evening. Unsurprisingly, it does not appear the show will be resumed tonight - too many patrons have fled out into the streets.

Patrons and, it appears, actors.

Even in the crowd, Tsuitsui's colorful hair and garments make him easy to find, and you stride over to find him speaking to a couple of the cast - a man in shimmering fish-scaled outfit, one of the Princess's court, and the great Omura himself. "Ah, Kinjo!" Tsuitsui said, waving his fan at you. "Come here. I was just speaking to Master Omura about his performance tonight!"

You bow to Omura, indicating his status as a master craftsman. Up close, the kabuki makeup is startling in its white and red lines - it is easier to see the smaller imperfections, the smudges and lines in the face underneath. Still, you are struck by an impression of, if not youth, vitality and energy. Omura returns the bow. "I hope you enjoyed what you saw," he says. "I'm only sorry that you missed the final act. The real climax, of course, is the conflict between brother and brother. Of such things are the great stories made!"

"It was definitely a different story from the one I learned as a child," you say.

"There is nothing wrong with a classic tale," Omura notes, "but it was decided some adaptation was required." You note to yourself that this updated version certainly seems to play into Omura's talents, providing a direct familial conflict with a dramatic conclusion and a more intricate romantic arc. You wonder if he was involved in the rewrites? You are contemplating how to ask, politely, before Tsuitsui steps into the conversational pause.

"That's the modern style, Kinjo, like I told you," Tsuitsui says. "Boldness is what captures the audience's heart! Why, mine was almost beating out of my chest when you seized the Princess and embraced her. I have rarely seen such passion!"

Is Tsuitsui flirting?

"Does your company permit private performances?"

Oh. Yes, yes he is. Well, you wish him luck.

Omura's eyes open just a bit. "We are always proud to perform for such a prestigious patron." You think that 'suitable' no doubt means 'willing to pay', but then Tsuitsui can certainly afford it. Tsuitsui's fan flicks, but not aggressively, just contemplatively.

"You are the first Omura Nikki, are you not?" It was common for the name of a famous kabuki actor to be passed down from master to apprentice across the generations, but usually a numeral is appended after the name in those cases. "Where did you acquire your skills?"

"Ah," the actor says, a bit nonplussed. Have you offended him? It seemed a harmless enough question. "I had the misfortune of not being able to pursue stagecraft in my youth, and so I could not pursue a usual apprenticeship."

Tsuitsui steps in. "Through solitary study and practice, and a tremendous amount of talent, he was able to work his way up in record time. Really, Kinjo, did you even read the program I bought for you?" He flutters the fan to show the comment is meant to be teasing.

Another time, Tsuitsui's usage of you as a prop for his conversation and flirtation would be annoying, but given the rush of adrenaline that is now fading from your system, you are glad to be able to zone out a little. Tsuitsui confirms that yes, Omura had a hand in the rewrites, finds that their next play is a story of love between a samurai and the shinobi sent to kill him, discusses renovations of the theater, and the potential of Tsuitsui becoming a formal patron. You are not quite sure how the flirtation is going, Omura's intensity is ambiguous, but you know Tsuitsui enjoys the game as much as any success.

The moon rises, the lights in the district begin to go out. It is time for you to return to your home and rest.

The next morning, the news-sellers and criers are full of news about the mysterious ghost whale. The harbor is not yet shut down, but traffic is being reduced significantly.

What do you do?

[] It remains unclear what the whale-yokai wanted in the theater district. Search the area in which it appeared, there must be some clue.

[] You have now seen the monster's form. It is time to do research. Search the archives of the Office and those records both public and private that you have access to, to learn more about what you face

[] You know where the beast is to be found. You will venture forth into the harbor with a boat and a crew and prepare to face it - to investigate it, drive it off, or fight it, you suppose you will decide when you get there
-[] Bring Lord Tsuitsui
-[] Contact a spirit medium

[] Write-in

I wish this hadn't taken so long. I work on the quest pretty much every day, but sometimes more successfully than others. I dont' like making excuses, but I'm an American, and recent events have not been great for the old mental health and well-being, and, well, it appears that's not changing anytime soon. Take care of yourselves, all.
 
[X] It remains unclear what the whale-yokai wanted in the theater district. Search the area in which it appeared, there must be some clue.

There must be a reason why the whale decided to come to the theater district, maybe it was a fan of Omura?
 
"Can we simply skip the part where you say that it is your duty, and I point out that everything is well-handled as it could be, and the harbor will still be there tomorrow?" Matsuda interjects.
Killjoy. Can't Kinjo have some leisure in his time off? :(

[X] It remains unclear what the whale-yokai wanted in the theater district. Search the area in which it appeared, there must be some clue.
 
[X] It remains unclear what the whale-yokai wanted in the theater district. Search the area in which it appeared, there must be some clue.
 
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