Okay, I am finally ready to comment on this. I have to give a similar warning as Barinellos did: this is going to get pretty rough. Because of that, I want to stress one thing right off the bat, and I'll ask you to keep this in mind as you progress through my comments. Both the story itself and you as a writer have good potential for development, and we as a community want to
with that development.
Usually when I critique, I like to go from general comments to specific ones. This time, however, I feel the opposite would be more useful, so I'll go through the story and comment as I read.
First thing's first, there is a number of specifics here that you, to the best of my knowledge, simply invent about the culture of the snake-folk. I would need Keeper or Barinellos to tell me for sure, but I assume "Unnalm" is something you made up? That's not a problem in and of itself, you understand, but because it would impact a community plane, we should probably discuss it first.
Now, that being said, I sort of like the rite of passage object selection thing you've got going. It's an interesting cultural cue. I was glad to see you got rid of "do-dads," which I agree didn't fit.
Your first four paragraphs vary widely in terms of length. Again, in and of itself, that's not a problem. In fact, it can be a really powerful tool in writing. However, you need to know what effect it has on the reader. Unless carefully proofreading, readers don't actually read every word. They scan. And the longer a paragraph, the more likely they are to skip over things. Because of this, shorter paragraphs, when placed between two longer ones, tend to really stand out to a reader. Your second paragraph is only two sentences, and stands out a lot. Unfortunately, it doesn't really do anything to deserve to stand out. It just proves a distraction. I would fill it out with a little more detail, maybe some more background or some description would fit well here.
Conversely, your third paragraph is comparatively quite long, and you buried a moment that you probably wanted to stand out more, when Szetsh whispers "Who are you?" in a mystical little moment. That might have better served you by breaking that into its own line, which dialog could certainly justify.
The sentence: "The iron people" was the tribe's term for those from Verkell" really stands out. It takes the reader out of the story because you, as the narrator, are addressing us, the readers, directly, in a way that is totally outside of the story. You can accomplish the same thing in-world by saying something like "Every snake there shuddered, knowing well what that meant: the people of Verkell." With something like that, you are still in the story, in the minds of the people you're portraying, and you provide necessary exposition without jarring us out of it. Imagine, for instance, if in Star Wars, the first time the Force was mentioned, George Lukas stepped out on screen and told us directly what the Force was and what it meant, then stepped away to allow the movie to continue.
I will need clarification from Keeper or Barinellos on the nature of "domesticated basilisks." To me, that seems like a contradiction in terms, but if the snakefolk in Jakkard do somehow domesticate basilisks, then very well.
I've noticed a couple of places were you use all caps for emphasis. I would advise against this in a story. An exclamation point should suffice. That's more of a stylistic point, however. If you really like them, fine. They just aren't necessary.
I like the way you fixed the nightstalker problem. It's actually the way I was going to suggest you fix it. It could probably be a bit clearer, but in general, I think you're on the right track there.
Part two is, as Luna pointed out, marked with typos, which makes it very difficult to read. Even the first sentence "It had been a rough couple of relocating..." A rough couple of what? Weeks? Months? Or just a rough couple of relocations? From there you go directly into passive voice by saying "a new place still wasn't found." Now, I'm not as down on passive voice as some people are, but this one seemed unnecessary, when you could have just said "and they still hadn't found a new place to settle."
Once dialog starts, we get into a major problem for me, and that's the language you choose to use here. For one thing, I personally find it offensive, as it's a device that is an historic slight of indigenous and non-English speakers, which isn't okay. But more than that, it really doesn't make sense. The convention started because non-native English speakers were trying to speak in English, which is a comparably difficult language to learn. But even if there are several different languages in Jakkard, which I don't think we know, your snakes would not be speaking (poorly) to one another in a language other than their own. You, as the narrator, are already translating for us. There's no reason here to give us an intentionally poor translation just as an indication that these people are "others" to ourselves.
Also, it seems very off to me that his mother tells him to go play with other "children" when a major plot point of part one is his rite of passage into adulthood. In fact, the entire relationship between Szetsh and his parents seems pretty off to me. That being said, I really like what you're doing with his increased obsession with the Wish-Maker. You're hitting a note of mania with him that I really like.
There's another major plot problem with the end of this piece that's pretty important to me. Jakkard's planar ceiling makes it nearly impossible to planeswalk in or out except in Verkell and maybe one or two other places. I have my own reasons for this, but I'm really unhappy with Szetsh 'walking out of the Wastes like that. If there's any way you could relocate that moment to Verkell, I would be much obliged. Maybe Szetsh gets captured, brought to Verkell and is about to be killed there? I know it's an extra step and somewhat waylays the immediacy of the situation, but it fits the metaphysics of the plane much better.
Now for some generals. Proofreading. The mind is a funny thing. Remember when I said earlier that readers don't actually read everything? That's thricefold true when we read our own work. The mind remembers what you meant to write, and will often read it that way. Most of the prose I post has been read over at least twice, usually while listening to it out loud (I use a text-to-speech function) and I still miss a few things here and there. You want to help your readers through a text as much as possible, and typos, misspellings and incorrect word usage really hampers that pursuit.
The other thing I want to preach is patience. This story feels really rushed, like you just want to get through it and get to the end. The moments you put in here, as in the two appearances of Thomas Regger, are suitably significant to the life of Szetsh and his people, but there is almost no build-up of tension here. I said once that it's all about pathos (emotional connection with your audience), and I hold to that. We don't have a lot of time in this piece to really care about what happens, and no real time to come to fear Thomas Regger the way we should fear a villain. In fact, we have little to no sense of Regger period.
I think this piece can, and should, be fleshed out a bit more. Let us get more into Szetsh's head and the reality of his people. Show us how terrifying Thomas Regger is, and make us feel it, viscerally, so that when he reappears at the end, we're genuinely concerned about what's going to happen.
Like I said at the very beginning, I think this has potential. I think you hit some good notes with the basics of character and culture, and your story arc fits well with an ascension story. It's the particulars where I think you need some polishing. This one is probably going to take some work to get to where it seems you want to go, but you've got a decent skeleton laid out now.
If you're looking for some practice writing, I do run the
Flavor of the Week thread over in the Art, Flavor and Storyline board. Each week, I provide a new writing prompt in the form of a Magic card, and people write a short little story. If you're interested, it's a good way to polish some of these skills.
Thanks for writing this, and please don't get discouraged. Writing is always a work in progress, and the only way to improve is to keep doing it. I certainly hope you continue.