#Basaltic Hill

[stairnaheireann]

Cave Hill, Belfast

Cave Hill, or Cavehill, is a basaltic hill overlooking the city of Belfast. It forms part of the southeastern border of the Antrim Plateau. It is distinguished by its famous ‘Napoleon’s Nose’, a basaltic outcrop which resembles the profile of the famous emperor Napoleon. Cavehill is also the name of an electoral ward in Belfast. Historically it was known as Ben Madigan, which is derived from the…

[rabbitcruiser]

Devil's Punchbowl

What do you think about my pic?

[jpegcompressor]

what i've learned from philosophy is that you can actually milk a stone if you understand that it is the only way to be truly happy

[scavengedluxury]

Basalt colonnade, Szent György-hill, 1906. From the Budapest municipal photography company archive.

[timkarr]

Unsettling Sound The Puget Sound is an unsettled sea that lies above the tectonically active western edge of the North American Plate. This large body of frigid water is separated from the Pacific Ocean by the Olympic Mountains to its west and the Cascades to its east. Glaciers crowded into the Sound during the last ice age, advancing from the north. When they retreated some 13,000 years ago they left behind deep deposits of interglacial sediment. These sand and clay remnants, in turn, were carved by frequent rain, sea and wind erosion to form high, unstable coastal bluffs, which were soon blanketed by dense evergreen overgrowths of cedar, hemlock and fir, and undergrowths of alder, blackberry and fern. As erosion progresses this cover slides from high bluffs in slow cascades that often take decades to complete from hilltop to shore. The process is sped up when the northwest rains are heaviest. Landslides can carry trees and their understory to the beach in an instant. Once arrived on the shore, the upended forest enters the marine ecosystem, where it functions as nutrient, shelter and barrier. In the last centuries, human structures have been added to this tumult. Houses perched on bluffs afford spectacular views and command high prices, but they face the disturbing prospect of being splayed across the beach following a prolonged downpour. Slides in the Northwest earn frequent headlines, and were even the subject of a popular book and film set on the slopes of Queen Anne Hill. Much hilltop construction in the area occurs with little immediate awareness of the role erosion plays in maintaining both the geological and biological integrity of the Sound. A common response to the inevitable is to line the bank with black basaltic stones quarried from ancient lava beds. The proliferation of these bulkheads throughout the Puget Sound has resulted in a phenomenon called “shoreline hardening.” According to some government statistics, approximately 30 percent of the Sound’s shoreline is now armored with stone and concrete reinforcements. This happened along the beach where my family has lived for nearly a century. in the 1970s and 80s, property owners piled stone bulkheads to shore up against sliding —attempting to fix in time something that’s always in flux. The results of our obstinance has been devastating. Within years this beach began to lose much of its value. As a child, I can remember clawing a hundred Native Littlenecks from the sand and clay beneath beach rocks. We let these clams sit for a couple of hours in a bucket of seawater. My grandparents taught us to sprinkle in cornmeal so they could spit out stomach sand as they fed. Once full, they were transferred into a steaming pot where they open latticed shells to offer up their tenderness. Today I’m lucky if I find a single Littleneck after 30 minutes of raking. When I visit the Sound, I think of Sue and Payne, who were privileged to live on this shore and loved what it could yield to any of their grandchildren willing to put some time into it. They left us more than 20 years ago, and a new generation of family has built modern homes on the foundations of those Sue and Payne left behind. In time, ownership may be handed to successive generations, or we might drift away, passing the beachfront to someone with no memory of what it meant to a family that gathered there. And while the Sound may retain much of its scenic beauty, this too is fleeting. The tides will rise and fall revealing stretches of rocks and sand, again and again, and still something will always remain unsettled until it’s gone.

[xxdemonicheartxx]

Flight Rising flights but as art mediums:

There are some overlaps in mediums since dragons are so tight knit and far spread

Earth: tile work/mosaics, jewelry work, ceramics, stone sculpture, chalk, clay work, plaster, leather work, rain chains

Water: plaster work, woven tapestries, shell jewelry and chimes, pearl inlays, decorative sails and flags, basket weaving, sandstone carving, watercolors, mirrors and glass sculptures

Shadow: optical illusions, black and white photography, puzzle boxes, uranium glass work, maybe iron work, mycology arrangements, shadow boxes, gouache, anything that involves glowing in the dark

Light: stone carving and gold foiled painting, sometimes tapestry weaving to depict an image or scene, impressionism, oil paint, tempera, portraiture, clothing and attire, mirrors, pigment making

Plague: hyper realism, and taxidermy, ceramics, bone carvings, tattoos, ink block prints, collage art, murals, leather work, totems and large outdoor installations

Nature: floral arrangements, dye work, wood work, candle making, hot wax painting, landscaping, rain chains, wind chimes, tapestries, needle felting, carpentry, animal cosmetics (haircuts, animal safe dye, nail and claw painting, etc), apparel/clothing, pigment making

Ice: needle felting, wood carving, quilting, ice carving and sculpture, snow sculptures, knitting, the art of tea blends, dried plant arrangements, carpentry, fabric weaving, tapestries, crochet, wood burning, blanket weaving, candle making, dye work, wood turning

Fire: welding, decorative weapon smithing, glass blowing, wood burning, wrought iron, stained glass, latticed metal, terracotta, ceramics, obsidian and basalt carving, graphite, slate, charcoal

Wind: paper mache, ribbon mediums, basket weaving, sonorous sculptures, wind chimes, feathered attire, really tall and thin structures/sculptures, jade carving, blanket weaving

Arcane: resin, stained glass, welding, intricate silver work, collaborative neon work with shadow (they need that special eye for glow in the dark), crystal carving, zen gardens, bonsai art, screen printing, photography, illuminated manuscripts, clothing and apparel, gold foil work, abstract art

Lightning: bronze cast sculptures, sand sculptures (when lightning strikes the sand and turns it to stone) aluminum casts poured into ant colonies/hills, pop art, up-cycled art, photography, art that is still capable of being utilized and interacted with because people and dragons are part of the medium, assemblage art, banners and flags

[cryptidclaw]

Cryptidclaw's WC Prefixes List!

Yall said you were interested in seeing it so here it is! 

This is a collection of mostly Flora, Fauna, Rocks, and other such things that can be found in Britain since that’s where the books take place! 

I also have other Prefixes that have to do with pelt colors and patterns as well!

Here’s a link to the doc if you dont want to expand a 650 word list on your Tumblr feed lol! the doc is also in my drive linked in my pined post!

below is the actual list! If there are any names you think I should add plz tell me!

EDIT: I will update the doc with new names as I come up with them or have them suggested to me, but I wont update the list on this post! Plz visit my doc for a more updated version!

Animals

Mammal

Badger

Bat

Bear

Beaver

Bison

Boar

Buck

Calf

Cow

Deer

Elk

Fawn

Ferret

Fox

Goat

Hare

Horse

Lamb

Lynx

Marten

Mole

Mouse

Otter

Rabbit

Rat

Seal

Sheep

Shrew

Squirrel

Stoat

Vole

Weasel

Wolf

Wolverine

Amphibians

Frog

Newt

Toad

Reptiles

Scale

Adder

Lizard

Snake

Turtle

Shell

Birds

Bird

Down

Feather

Albatross

Bittern

Buzzard

Chaffinch

Chick

Chicken

Coot

Cormorant

Corvid

Crane

Crow

Curlew

Dove

Duck

Dunlin

Eagle

Egret

Falcon

Finch

Gannet

Goose

Grouse

Gull

Hawk

Hen

Heron

Ibis

Jackdaw

Jay

Kestrel

Kite

Lark

Magpie

Mallard

Merlin

Mockingbird

Murrelet

Nightingale

Osprey

Owl

Partridge

Pelican

Peregrine

Petrel

Pheasant

Pigeon

Plover

Puffin

Quail

Raven

Robin

Rook

Rooster

Ruff

Shrike

Snipe

Sparrow

Starling

Stork

Swallow

Swan

Swift

Tern

Thrasher

Thrush

Vulture

Warbler

Whimbrel

Wren

Freshwater Fish 

Fish

Bass

Bream 

Carp

Dace

Eel

Lamprey

Loach

Minnow

Perch

Pike

Rudd

Salmon

Sterlet

Tench

Trout

Roach

Saltwater fish and other Sea creatures (would cats be able to find some of these? Probably not, I don't care tho)

Alge

Barnacle

Bass (Saltwater version)

Bream (Saltwater version)

Brill

Clam

Cod

Crab

Dolphin

Eel (Saltwater version)

Flounder

Garfish

Halibut

Kelp

Lobster

Mackerel

Mollusk

Orca

Prawn

Ray

Seal

Shark

Shrimp

Starfish

Sting

Urchin

Whale

Insects and Arachnids

Honey

Insect

Web

Ant

Bee

Beetle

Bug

Butterfly

Caterpillar

Cricket

Damselfly

Dragonfly

Fly

Grasshopper

Grub

Hornet

Maggot

Moth

Spider

Wasp

Worm

Trees

Acorn

Bark

Branch

Forest

Hollow

Log

Root

Stump

Timber

Tree

Twig

Wood

Alder

Apple

Ash

Aspen

Beech

Birch

Cedar

Cherry

Chestnut

Cypress

Elm

Fir

Hawthorn

Hazel

Hemlock

Linden

Maple

Oak

Pear

Poplar

Rowan

Redwood

Spruce

Willow

Yew

Flowers, Shrubs and Other plants

Berry

Blossom

Briar

Field

Flower

Leaf

Meadow

Needle

Petal

Shrub

Stem

Thicket

Thorn

Vine

Anemone 

Apricot

Barley 

Bellflower

Bluebell

Borage

Bracken

Bramble

Briar

Burnet

Buttercup

Campion

Chamomile

Chanterelle

Chicory

Clover

Cornflower

Daffodil

Daisy

Dandelion

Dogwood

Fallow

Fennel

Fern

Flax

Foxglove

Furze

Garlic

Ginger

Gorse

Grass

Hay

Heather

Holly

Honeysuckle

Hop

Hyacinth

Iris

Ivy

Juniper

Lavender

Lichen

Lilac

Lilly

Mallow

Marigold

Mint

Mistletoe

Moss

Moss

Mushroom

Nettle

Nightshade

Oat

Olive

Orchid

Parsley

Periwinkle

Pine

Poppy

Primrose

Privet

Raspberry

Reed

Reedmace

Rose

Rush

Rye

Saffron

Sage

Sedge

Seed

Snowdrop

Spindle

Strawberry

Tangerine

Tansy

Teasel

Thistle

Thrift

Thyme

Violet

Weed

Wheat

Woodruff

Yarrow

Rocks and earth

Agate

Amber

Amethyst

Arch

Basalt

Bounder

Cave

Chalk

Coal

Copper

Dirt

Dust

Flint

Garnet

Gold

Granite

Hill

Iron

Jagged

Jet

Mountain

Mud

Peak

Pebble

Pinnacle

Pit

Quartz

Ridge

Rock

Rubble

Ruby

Rust(y)

Sand

Sapphire

Sediment

Silt

Silver

Slate

Soil

Spire

Stone

Trench

Zircon

Water Formations

Bay

Cove

Creek

Delta

Lake

Marsh

Ocean

Pool

Puddle

River

Sea

Water

Weather and such

Autumn

Avalanche

Balmy

Blaze

Blizzard

Breeze

Burnt

Chill

Cinder

Cloud

Cold

Dew

Drift

Drizzle

Drought

Dry

Ember

Fall

Fire

Flame

Flood

Fog

Freeze

Frost

Frozen

Gale

Gust

Hail

Ice

Icicle

Lightening

Mist

Muggy

Rain 

Scorch

Singe

Sky

Sleet

Sloe

Smoke

Snow

Snowflake

Soot

Sorrel

Spark

Spring

Steam

Storm

Summer

Sun

Thunder

Water

Wave

Wet

Wind

Winter

Celestial??

Comet

Dawn

Dusk

Evening 

Midnight

Moon

Morning

Night

Noon

Twilight

Cat Features, Traits, and Misc. 

Azure

Beige

Big

Black

Blonde

Blotch(ed)

Blue

Bounce

Bright 

Brindle

Broken

Bronze

Brown

Bumble

Burgundy

Call

Carmine

Claw

Cobalt

Cream

Crimson

Cry

Curl(y)

Dapple

Dark

Dot(ted)

Dusky

Ebony

Echo

Fallen

Fleck(ed)

Fluffy

Freckle

Ginger

Golden

Gray

Green

Heavy

Kink

Knot(ted)

Light

Little

Lost

Loud

Marbled

Mew

Milk

Mottle

Mumble

Ochre

Odd

One

Orange

Pale

Patch(ed)

Pounce 

Prickle

Ragged

Red

Ripple

Rough

Rugged

Russet

Scarlet

Shade

Shaggy

Sharp

Shimmer

Shining

Small

Smudge

Soft

Song

Speckle

Spike

Splash

Spot(ted)

Streak

Stripe(d)

Strong

Stump(y)

Sweet

Tall

Talon

Tangle

Tatter(ed)

Tawny

Tiny

Tough

Tumble

Twist

Violet

Whisker

Whisper

White

Wild

Wooly

Yellow

[teaah-art]

Some Ponniyin Selvan themed tarot card designs! In no particular order. And there will be more!

Some design notes under cut

The Fool : Chose Vandiyadevan for this one. The Fool Card I referenced had a dog in it and I chose to replace that with Semba. Instead of a traveller's bindle, Vandiyadevan here is holden a sheathed sword, symbolic of Aditha Karikalan's sword he received in the beginning of the story. Instead of snowy mountains, around him are green Nilgiri Hills and black basalt rocks, typical for the Deccan plateau.

The Magician: Chose Ravidasan for this. My train of thought was essentially = Sorcerer? Magician? Kinda?. Kept the left hand pose same as the original card but replaced the white wand with the fire in hand which is how the PS movies portrayed Ravidasan praying to Kottravai (I haven't read the books). Chose not to draw anything else from the original card, since it didn't fit Ravidasan's aesthetic and I also kinda liked the look of the card without anything 🤷‍♀️

The Hierophant: This one's Madhurantakan. It just fits him so well! My intention with this was to draw him sitting on a throne in a Chola style Shiva temple, but I found it more appealing to have a blurry/dark background with the lighting on Madhurantakan himself, which ended up making the background details kinda pointless. The two people kneeling are supposed to be Periya Pazhuvettaraiyar and his brother, though honestly, interpret it how you will. Original card ref.

The Hermit : Chose Alwarkadiyan Nambi for this. Replaced the lamp from the original card with one of those deepams that have a deity at the center and are throne shaped. The one my mom owns/ the ref I had in mind has Vishnu at the center so it sorta felt fitting, at least on a personal note. He's supposed to be standing on a beach but unsure if that's coming across (I'm not that great with backgrounds....)

[somethingclevermahogony]

WIP Tour Tag!

Finally getting to this! Thank y'all for the tags @paeliae-occasionally, @illarian-rambling, @willtheweaver, and @topazadine!

For the sake of simplicity I'll be showing you around a single city, the Grand City by the Lake, Labisa.

(There is a 99.9999 chance that I missed at least one typo, please be forgiving haha)

Stop 1: The Serpent Road

You find yourself walking down a worn and dusty road, one which stretches far behind you, curling serpent-like through the forested hills, as well as farms and villages, eventually vanishing into the looming Red Cedar Mountains. At first glance you may believe it to be little more than a wide dirt path, but as you look closer you can see the faint outlines of cobblestones, laid in times long forgotten, their surfaces sanded down by centuries of feet, hooves, and wagon wheels. Other travellers surround you, many dressed in strange clothing, some are Kishite some come from far more distant lands. They have come to partake in the Festival of Humbalibal, Goddess of the Mountains. Performers draped in the skins of leopards and boars, dancers bedecked with bells and ribbons, and poets bearing harps and drums ply their trade. Over the excited chatter, they sing of great heroes and tragedies, of beautiful Hiru and sorrowful Lat. Through the people, on either side of you are steles, dozens of them, some as small as a child, others as large as a house, pillars of stone their surfaces carved and chiselled with decrees of kings and queens, living and dead. Gods and beasts glare down at you as you pass beneath their stony gaze. Woe the Thief, Woe the Murderer, Woe the Traitor they seem to whisper. Or perhaps the whispers come from the lips of the heads, their eyes plucked by birds, cheeks sunken, skewered upon the poles of pine wood which line the roadside, their crimes scrawled in black coal upon their foreheads. To your left glittering under the mid-day sun is Lake Shebali, its massive expanse seems to swallow the horizon. White-feathered shorebirds stalk black sand beaches and weave amongst reeds. Ships bob lazily at the docks, grandest among them is the royal barge, a floating palace, its two masts extend high into the air like two massive trees. Beyond the docks you can see the fishing village, humble buildings of mud and timber, racks where fish dry, and leather cures. Children run between the houses whooping and crying, waving sticks and dolls of hair and cloth above their heads. Neither you, nor your fellow travellers have the time to ponder as to their games.

Stop 2: The Outer Walls of Labisa: The Black Walls of Tamel and the Serpent Gate

This rural scene does not hold your attention for long, for now you have reached the walls of Labisa. They tower above you, their stony surface rising 70 ft, and almost as thick, each one of the tens of thousands of blocks is the size of a horse. The lowest stones are made from black basalt, dragged from the looming mountains. Above these are yellow limestone, the surface of the stones each lovingly carved with scenes of animals, forests, battles, gods, and spirits, most so worn by the ravages of time that are all but incomprehensible. One could spend a lifetime inspecting all the images. The upper most layer and the towers placed at regular intervals are made from snowy marble. Long ago these walls had been built by the demigods Tamel, Sadaric, and Mikrab alongside thousands of workers and artisans. These walls had been made to withstand all enemies from armies to dragons. No tree or shrub grows against the imposing stone, nature kept at bay by fire and bronze. Before you, rearing high above, are two gargantuan stone serpents, one is crooked, its snarling face cracked. Any of the excitable travellers will tell you that the story goes that it was Narul that cast down the serpent while fleeing from the city with the fugitive princess Ninma. How any one person could do this, you do not know. But now is not the time chat, you are approaching the gates. Doors of thick cedar, 30 ft tall, freshly painted, as blue as the sky, bolts, and rivets of bronze glimmering in the sun. Guards stand on either side, inspecting the wagons and carts as they pass through. They wear armor of bronze, scaled like dragonskin. Their tall helms are bedecked with red feathers. In their hands are gripped spears, shields of bronze and oak hang from their backs. They stand stern and proud, these are not the men of Hutbari, untrained and inattentive, these men serve Akard, King of Kings. As you reach the gates they look you over. After a thorough but quick glance, they beckon you inside.

Stop 3: The Grand Square and The Tomb of Tamel

You enter a grand square, larger than most villages. Tents and makeshift ovens have been placed around the square to feed the hungry people. Honey cakes, stretched flatbreads, snails, sausages, olives, wine, beer, fried fish, fruits, nuts, fried dough, cups of stewed beans, dozens of different choices, each with a hungry crowd jostling for the next spot in line. The smell of fried foods hangs heavy in the air. Surrounding the square are buildings, many are beer halls from which sounds of laughter and twangs of harps emanate. Still others are brothels, men and women hang from windows cooing and calling to passers-by.

Musicians blow on flutes and pound at drums, while men dressed in naught by ram's skin, their faces and bodies painted, dance their arms raised above their heads, their eyes rolling in their heads as if in a trance. Sages awe children and terrify adults with streams of fire and crackling electricity which arcs from their fingertips. Exotic animals pace in cages under the curious eyes of Kishite children. If you look closely among the crowd, you may notice hillfolk, short and broad, their thick fur and long arms easily distinguishing them from their human neighbors, or perhaps you might see the amethyst hair of an Ikopeshi, or rarer yet the great winged form of a kiriki, their feline bodies draped with beads of amber and bone.

Laborers are hard at work, constructing a massive stage at the center of the square, here is where priests from the Temple of Humbalibal will perform odes and songs in honor of the goddess. But it was what lies beyond that catches your attention. At first you assume you must be hallucinating, for it seems that somehow a mountain has sprung up here in the middle of a city, complete with lush forests and trilling birds. As you draw near, you can see marble steps among the greenery leading up to the summit, three hundred feet above you.

This is the Tomb of Tamel, built to house the bones of the founder of the city. What appears now as a massive mountain, is in actuality a tiered structure, composed of thousands of stones, concealing a burial chamber within. As is the tradition of the Kishites, the tomb has been covered by soil and planted with a lush garden, fed by manmade rivers, the water drawn up from underground sources. Entire orchards of fruit trees inhabit each rounded tier. Tamel alone has been given the honor of being buried in the city, the tombs of his successors dot a nearby mesa. While magnificent in their own right, none can match the grandeur of this tomb. Kishites pour bowls of crimson wine at the tomb's base, libations in dedication to the spirits said to guard the dead king's bones. A man approaches you, offering you a bowl for a small fee. However, as the crowd grows you are quickly forced to continue on with your exploration of the city.

Stop 4: The Temple of Humbalibal

The city is marked by three hills, aside from Tamel's Tomb. The first of these, which stands opposite to the square, is the Temple District. As you walk up with stone steps, statues of many armed gods and animalistic spirits dance on either side of you, freshly painted with vibrant shades of red, green, yellow, and blue. Dozens of temples flank the steps, some little more than huts, others grand structures of stone and wood. The smell of burning incense combines with the aroma of sacrificial fires and of the city below. The greatest temple lies before you, dedicated to the patron of the city, Humbalibal. The red doors are swung open to allow all entrance. Priests and priestesses, devotees of the Mountain Goddess, go about their work, some tending to the statues, others kneel, their heads bowed in reverence, hands raised with palms flat in silent prayer to the watching divinities. Their white robes swish as they walk, their horned headdresses click and rattle as they walk, adorned with pins in the shape of poppies. Also, among them are many of the city’s sages. They are recognizable by the ivory circlets rested upon their brows, traditionally sourced from the dwindling Kishite elephants of the southern cedar forests, though increasingly, the city’s ivory supply is reliant on the elephants of Namut.

The great statue of Humbalibal, sits within the eastern alcove. As with the other various statues and reliefs that fill the great altar room, Humbalibal is painted with garish colors, her skin the color of ice, her nude form draped in iridescent dragon skin. The muscles and veins in her four powerful arms have been carved with loving detail, as have been the curling ram horns which sprout from her jet hair. Her silvery eyes, creased with the cold fury of the avalanche, look down at the mortals milling around her feet. Opposite her in another alcove sits a simple wooden throne, it is from here that the king of the city listens to the concerns of his people. Between the throne and Humbalibal, sits the grand altar where sacrifices to the goddess are made. The flame there has burnt, uninterrupted since the days of Tamel. At that moment another one of the temple doors is opened and six cattle, five geese, four sheep, three pigs, two gazelles, and a lioness are guided into the temple, flanked by priestesses wielding knives of cruel obsidian. Rather than sticking around to see the sacrifices, you decide to travel on to the next part of the city.

Stop 5: The Markets

You descend one of the other staircases, winding back down into the city proper. You can see ships approaching on Lake Shebali, carrying yet more visitors to the already crowded city. To the north, hugging the Black Wall, you can see the so-called Lower City, named for its elevation rather than its position on the map. It is marked by many small, cramped hovels of mudbrick and straw, interconnected through various doors and halls to form a sort of hive. There is no such thing as a private home in the Lower City. A man could walk from one end of the district to the other without ever stepping onto the street. Peasants lie on their roofs, chatting, trading, and playing games of dice. There are fewer travellers there, for it is there the city's poorest live. There are no statues, the beer halls are puny, and the shops ill-supplied. Yet cramped and humbled as the lower city may be, you have heard stories of how it once looked under the reign of the previous king, Hutbari, crumbling and filthy. Under the reign of King Akard, no longer do children pick through piles of rubbish, no longer do disease and fleas run rampant, nowhere else in the city are the praises to Akard sang so loudly.

In front of you, to the south, can see the palatial hill, rearing high above the city, the Blue Walls, those that separate the hill and the palatial olive grove from the rest of the city. You decide to head in that direction to see the Palace for yourself, but first you must pass through the Market Districts. Called the 26 Streets, these form the economic and production backbone of the city. The streets are as follows: The Potter's Street, The Perfumer's Street, The Weaver's Street, The Butcher's Street, The Slaver's Street, The Bronzesmith's Street, The Coppersmith’s Street, The Carver's Street, the Brewer's Street, The Vintner's Street, The Jeweller's Street, The Plantbrew's Street, The Scribe's Street, the Ropemaker's Street, The Tanner's Street, The Spicer's Street, The Painter's Street, The Dyer's Street, The Stonemason's Street, The Fishmonger's Street, The Carpenter's Street, The Basket weaver’s Street, The Papermaker's Street, The Musicians’ Street, The Farmer’s Street, and the Candlemaker’s Street. Your path through towards the castle will take you through the first three: Potter's, Perfumer's, and Weaver's. You start with the Weaver's Street.

As with the Square, the market streets are bustling, crowds of people, mostly visitors, rush to gawk at and purchase bits and pieces of Labisian clothing. Garments of silk, linen, and wool of every color are waved by enthusiastic shop owners and hawkers seated in front of the flat-topped brick and wood buildings that function as store, workshop, and home. The shops are colourfully painted with blues, reds, and greens, in the hopes that their bright tones will draw in curious patrons. The pungent smell of dye lays over the distract like a blanket and the squeals and clicks of the looms and wheels fight to be heard over the many chattering voices.

You may have heard of the state of these streets thirteen years ago, when Hutbari and before him, his predecessors reigned. Then mounds of various kinds of filth had formed stinking barriers along the road. Human muck had clogged the streets, bodies of livestock, broken pottery, and every other imaginable pollutant rendering the market district and the surrounding city a stinking cesspit of disease. There were and are tunnels beneath the city, meant to carry waste out of the city. But these had been neglected for years, with monarch after monarch failing to delegate the duties of their upkeep. Upon taking the throne Akard and his new court had undergone a disgusting and arduous quest to see that the tunnels were returned to their former functionality, and the grime removed from the city. This was later derisively called, The Shit War. Methane gas, collapsed tunnels, and dark things living below the city made the endeavour a nightmare, one which claimed the lives of many guards and even a nobleman or two. And yet after 3 long years of constant work, the city was cleaner than it had been in the last 90 years.

This is not to say that the city is in anyway perfect. As you pass into the Perfumer's district The smell of dye is quickly overwhelmed by a headache-inducing melange of fragrances. Jugs and bottles of dozens of sizes, from the size of a child’s palm to the height of a grown man, line the street, images have been painted on their surface to advertise their contents. Perfume is of immense importance throughout the lands of the Green Sea, but especially in Kishetal. No person leaves their home without first scenting themselves, slaves are typically the only exception. Indeed, among some peoples like the Makurians and the Korithians, the Kishite people were thought of as feminine for their love of perfume, adornment, and their extravagant bathing practices, even the presence of public toilets was at times considered to be unduly opulent. As you look at the various decorated perfume bottles, a thought occurs to you. You recognize visitors from Korithia, Shabala, Makur, Ikopesh, Knosh, and beyond, but there is a group that is missing. Despite being one of the largest and most wealthy kingdoms you see no one from Apuna. Perhaps it’s not surprising, after all Labisa is currently war with Apuna.

At least that is what you think at first, until you look closer. There are Apunians here, slaves. They follow behind Kishite masters or else can be seen cleaning the streets and do other kinds of menial labor. Many are missing eyes, a hand, a thumb, or other parts. Kishite Palaces have a long and proud tradition of mutilation when it comes to their prisoners of war. You quickly avert your attention, but it lands on something else, the figure of a woman, sat in an alley, her knees tucked beneath her chin, her eyes hooded. At first you assume she is a beggar, though thus far they have been a rarity in this city, until you see the pustules. Her face and arms are covered in hundreds of angry red swellings, her teeth are chattering, her eyes vacant. Disease is an inescapable reality of living in a city, particularly one as massive as this. There are no hospitals or hospices, and in favor of the festival most of the temples have temporarily banished those being cared for there. And so, the ill gather here in the Perfume District, where the sweet smells may in some way cover the smell of pestilence.

In recent years Pyrian Fever become an increasingly dire problem throughout the domain of Akard. Though Kishites may not know what bacteria or viruses are, they have managed to identify where this particular outbreak originated from. As is often the case, war is a flashpoint for plague. Some of the same prisoner's war and slaves, you had previously noticed, brought the deadly disease with them. Now every slave is inspected for any signs of disease, but it is too late, they sickness is already here. You notice the plantbrews, medicine women, marching up and down the street, tending to the sick who huddle in alleys and under doorways. Some of the treatments seem to be working, certainly the disease seems less virulent than it has been in the past. Even still, you take note of the warnings scrawled on wooden boards. " Enun Nadolul Na Lumiga" "Do not touch the sick." You quickly decide to move on from the perfume district.

Soon enough the smell of rose and cinnamon declines, replaced by the earthy scent of clay and the sharp tang of kiln smoke. Potters line the streets, hawking their wares, hands stained with the rich red brown of freshly fired earth ang glaze. From tiny, ornate perfume bottles to massive pithoi, many of which you recognize from the previous district. The pots, jugs, and jars are adorned with intricate designs, some depicting scenes of daily life, others abstract patterns that seemed to dance around the curves of the vessels, still others are unglazed, fiery orange or ashy grey. A group of Korithians, immediately recognizable by their short colourful kilts and their long-braided hair, are gathered around one such shop, gawking at the erotic imagery that adorns those particular bowls and plates. You stop to look for yourself, though you quickly find that the going price is far too high for your tastes.

As you leave the Market Districts and approach the Palatial Hill, you enter the area where many of the richer families dwell, minor nobility, and wealthy merchants. Here too are the grand estates were visiting dignitaries stay. Buildings of stone and cedar wood, one, two or even three stories tall. Their surfaces painted and carved with stylized frescos of nature and festivity, curling palms, and leaping gazelles alongside bell-adorned dancers.

Kishite nobles, lounging in front of their homes, sipping wine, and eating dates and olives can be seen dressed in expensive clothing, their hair bedecked with many beads, ribbons, and rings, their necks and wrists choked with chains, collars, and baubles. Their robes are made from silk and soft linen, purple, red, and saffron yellow, their hair and beards are slicked with scented perfumes. Some wear capes and cloaks of lion and leopard fur.

The Kiriki Gates now stand before you.

Stop 6: The Palatial Hill

The Blue Wall separates the Palatial Hill from the rest of the city, while considerably smaller than the Black Wall, at only 32ft in height, it is no less magnificent. The wall itself is made from limestone. Unlike the carved surface of the Black Wall, the stones of the Blue Wall have been sanded and smoothed until it almost seems to sparkle in the afternoon sun. Even the cracks and gaps between the stones have been filled in to create a uniform surface. It is named for the upper most layer of stones, each one painted with a mixture of cobalt and copper to produce a vibrant blue. The only break is the Kiriki Gate, named for the two massive guardians which stand at either side, stone statues of Kiriki, each larger than an elephant. Kiriki are bull-horned and winged lions with the human-like faces. They are culture is secretive, their language indecipherable to most humans, yet they are seen on occasion, you had even seen earlier at this very festival.

While the statues are immobile, the same cannot be said of the guards, eight of the, standing on either side of the open cedar doors. They carry spears and axes, and massive shields in the shape of hourglasses. As you approach one of the guard's holds out his hand. You place a small tablet, no larger than a postage stamp in his palm. Carved on its surface in miniscule writing is a number of Kishite glyphs. This tablet acts as your permission to enter the palatial grounds. After a minute he nods and steps back. He does not return the tablet, this particular privilege is only being afforded, once.

You walk through the gates, head respectfully bowed. It is as if you had just been transported miles away to the countryside. An olive grove stands around you, gnarled trunks twisting and turning. Many of these trees have been here for hundreds of years since the time of Tamel and his children. Currently the workers and caretakers are lounging by ponds and pools, a handful are pruning and attending to the trees, but overall, with the harvest still being months away, the Palatial Olive Grove is tranquil. A few of the laborers wave as you pass by. Stags, gazelle, pheasants, and other peaceful creatures roam through the rows of trees, their presence meant to simulate a rural farm or hillside orchard. A gazelle approaches you, hoping for handouts, upon finding none it goes back to nibbling at the grass.

You spot a small stone shrine tucked among one particularly thick grouping of olive trees, you are not sure which god it is meant to honor, for there are no markings on the alter. Before the shrine is a ring of stones placed on the ground. You immediately recognize this structure as one of those in which Kishite dead are placed, allowing their flesh to be reclaimed by nature before their bones are buried or placed in tombs. However, this particular ring has never held a corpse, rather this ring is used as part of the naming ceremony performed on Noble Kishite children upon reaching the age of 4. The child is made to sleep here, and upon awakening, they symbolically rise up from their "old life".

Beyond the olive grove you enter an area filled with fig, pomegranate, regalu, and quince trees. You even spot a peach tree, still a rarity this far west. Myrtle and laurel trees also make an appearance, their trunks seemingly wrapped in grape vines. The fragrance of these trees mingles with the dry scent of earth and old wood. A few more workers, dressed in simple linen wraps, tend to the trees, and prune the vines, their movements slow and deliberate.

You spot a number of terraces built into the hill side; great blocks of limestone topped with soil. Here is where the king's plantbrews grow their stock, exotic berries, tubers, and flowers.

The ground is crisscrossed by stone pathways, like the one that you are walking on, however it seems that most of the laborers choose to ignore these, instead walking over grass and roots.

The White Wall waits before you.

Stop 7: The Palace

The last and smallest of Labisa's three great walls, at only 24ft is The White Wall, which separates the palatial complex from the rest of the hill. In similar fashion to the Black Wall, the White Wall is made from massive blocks of stone rather than many smaller bricks like the Blue Wall, the lintel above the king's gate is the single heaviest stone in all three of the walls, at nearly 20 tons. The White Wall is the only one with stones that were not quarried in Kishetal, rather its stones were sourced from the original homeland of Tamel and his followers, Shabala. Each massive stone was transported by ship, barge, and finally by rope and manpower over hundreds of miles to the top of the hill, thus while the wall itself may be the smallest, its construction was arguably the most expensive. At first glance you might be confused as to why it is called the White Wall, the stone used is a pale grey, distinctly not white. The name comes from a thin layer of marble tiles that once covered the entirety of the wall, placed there by Tamel the Second, the last monarch of his namesake's line and the last king of a united Kishite kingdom. The tiles cut from the ruins of Arkodian temples, their capture viewed as the symbolic end of the war that had ravaged both Kishetal and Arkodai for decades, the single most destructive war in the recorded history of the Green Sea.

The tiles were stuck to the walls, with the plans for the white marble to be painted not only with images of the valiant heroes of Kishetal, but also those of Arkodai, their faces meant to stand guard over the palace as a memorial of the terrible war. After the last of the tiles had been placed but before the first of the paint could be applied, Tamel the Second was assassinated by his own son, Kerim. United Kishetal died with Tamel. Kerim cancelled the plans to paint the walls.

After Kerim was himself, killed by his younger brother, Farut, the tiles were taken ripped down and instead used to decorate the tomb of Tamel the Second. If one were to venture to the mesa where the royal tombs sit, the tomb of Tamel the Second would be easily identifiable by the snowy white Arkodian marble which still peaks from under the greenery.

The King's Gate is surprisingly plain, there are no great guardians looking over you as you pass under the massive lintel. The eyes of the guards burn into you as you pass, though they do not stop you.

The main palace along with the other palatial buildings function as a miniature city of sorts. The royal residence, a temple, storage buildings, a smithy, a pottery workshop, several workshops reserved for the palace weavers, two different sets of kitchens (and several massive outdoor ovens), the slave quarters, the bathhouse, and the stables are all contained within the White Wall, forming a large palatial citadel dotted with oleander, chestnut, and beech trees. The nobility and their guests who visit palace bathed in the grand bathhouse which stands directly beside the palace, constructed from polished granite, built atop an ancient spring, its interior is decorated with exotic plants and birds, carvings of dancing gods and heroes adorn the walls, and steam curls constantly from its high-set windows. Three similar though decidedly less extravagant baths can be found in the lower city, open to the people of Labisa. The palatial slaves make do with a large pond which lay at the edge of the courtyard.

The palace stands like a fortress atop the rugged hill, its thick stone walls towering above, as imposing as the demigod Tamel the First, who both ordered and assisted in its construction. Built from massive limestone blocks and mudbrick, it seems to have risen from the earth itself, sturdy and timeless. At six stories tall, it is the highest structure in all Labisa, save for the Tomb of Tamel. The outer walls are fortified with battlements and defensive towers, making the palace not just a seat of power but a stronghold overseeing the sprawling city below. Black soot still scars the walls, a grim reminder of Barunaki's brutal raid during Akard’s coup, when soldiers snuck in, murdered Hutbari’s children, and accidentally set the ancient structure ablaze. Only heroic effort saved the palace from complete destruction.

As you pass through the massive stone gate, you enter beneath an arch adorned with reliefs of lions, leopards, and horned men. Inside, the vast central courtyard opens before you, its stone floors smooth from centuries of footsteps. This space, often the site of ceremonies and rituals, is now empty—the king is far to the south. Yet, the palace is far from abandoned; at least two hundred nobles, along with their servants and slaves, occupy its thousand rooms, overseeing its care and performing sacred rites.

The halls are vast and labyrinthine, easy to get lost in. The lofty ceilings are supported by cedar beams and painted columns, every surface intricately adorned. Walls, pillars, ceilings, and even floors are decorated with colorful cloth, carvings, and frescoes. The murals depict royal processions, epic battles, dragons, divine figures, and tales from the Age of Glass and Metal, drawn from "Ti Jali Chasma," the Great History. You pause to admire a fantastical depiction of an ancient city, its twisting, impossibly shaped buildings a testament to the imagination of the artisans. Peeking into some rooms, you find many to be storage spaces, filled with pithoi and vessels holding oil and grain. One door nearly costs you your head, as the Chief of Wine glares at you with a spear in hand, clearly protective of his charge. Hastily, you move on, climbing stone stairs worn smooth from use, the center dipped from countless feet. Banquet halls line the next level, each filled with ornately carved furniture inlaid with pearl and ivory. Large hearths and massive braziers warm the rooms, the scent of smoke and wood blending with resin, stale perfumes, and the earthy smell of stone. Light filters through narrow windows, casting sharp contrasts of shadow and brightness across the floors. As you ascend further, you pass thick wooden doors fitted with bronze, marking private chambers—most are closed, and you wisely choose not to linger. The throne room is at the heart of the palace, both intimate and imposing. A raised platform holds a richly adorned stone throne, carved from black rock streaked with gold. Frescoes and tapestries line the walls, depicting heroic figures battling savage beasts. High above, barely visible, are the words of long-dead kings carved into the ceiling, some written in dialects so ancient only a handful of scholars can decipher them. At the back of the room are doors leading to upper floors, reserved for the royal family and palace sages. As you approach, a guard blocks your path, his stern expression and sharp spear making it clear that your tour ends here. As you leave the palace, the painted eyes follow you. Descending the palatial hill along with stern guard, you are guided back towards the bustling city. Somehow in your brief time away, the streets have become even more hectic, alive with color and activity. With the festival’s opening drawing near, you ponder your options for the time being. You could choose to explore the vibrant market districts, engage with the locals, or simply enjoy the lively atmosphere, the city offers a myriad of experiences. Perhaps if you can find a good beerhall or city corner, you may just be able to hear one of the many tales of Princess Ninma and the giant Narul. Regardless, the festival promises to be a grand affair, the likes of which no other city in the region can match.

I hope that you enjoyed your tour!

Tagging @kaylinalexanderbooks, @melpomene-grey, @mk-writes-stuff, @elizaellwrites, @unrepentantcheeseaddict

Also gonna go ahead and leave this one open

@patternwelded-quill, @persnickety-peahen

@elsie-writes, @the-ellia-west, @the-octic-scribe, @the-golden-comet

@finickyfelix, @theprissythumbelina, @autism-purgatory, @diabolical-blue , @tildeathiwillwrite

@katenewmanwrites, @leahnardo-da-veggie

@drchenquill, @marlowethelibrarian, @phoenixradiant, @pluttskutt

@dyrewrites, @roach-pizza, @rivenantiqnerd, @pluppsauthor

@flaneurarbiter, @dezerex, @axl-ul, @surroundedbypearls

@treesandwords, @skyderman

[gondwana]

SUN WORSHIP LIST OF BURGER RESTAURANTS KOMODO DRAGON SHIELD VOLCANO BASALT GEOLOGY OF VENUS AMBROSIA RADIUM HILL PEPSI FIFTH WORLD HAMMERHEAD SHARK U.S. ROUTE 10

[stone-stars]

songs in c3e58: giant egos (timestamps from the ad-free version. does not include the generic combat music. “a wizard’s tournament” is the recap song.)

The Scrappers - 9:49

Spearmint & Tea Leaves - 27:26 and 29:32

Left is Left and Right is Center - 33:14

The Bronze Bastard - 34:42

Snake Skirmish - 35:17

Sea Elves - 35:33

All I Need is One Thread to Spin a Web - 35:49

A Fairy Remembers - 43:00

All I Need is One Thread to Spin a Web - 45:39

A Haven Away from Home - 49:22

Left is Left and Right is Center - 51:11

A Memory - 53:31

A Fairy Remembers - 55:43

Secret Basement - 1:00:16

All I Need is One Thread to Spin a Web - 1:02:42

Shadowfell - 1:06:27

Illsed's Secret - 1:11:18

The Purge - 1:14:34

context for each song + notes under the cut!

The Scrappers - 9:49 - Giant's war map / the giants defrosting

Spearmint & Tea Leaves - 27:26 and 29:32 - Callie addresses the giants while playing a fey lullaby / convinces them to talk

Left is Left and Right is Center - 33:14 - Giants argue about who should rule

The Bronze Bastard - 34:42 - High Ember Lord Charbin's intro (Fire Giant)

Snake Skirmish - 35:17 - Stone Commander Basalt Von Shale's intro (Stone Giant)

Sea Elves - 35:33 - Wavemother Akoralil's intro (Water/Fish Giant)

All I Need is One Thread to Spin a Web - 35:49 - Garrosh, Master of Whispers, introduces himself (Cloud Giant)

A Fairy Remembers - 43:00 - Callie tells the giants about the serpents and Oberon's prophecy

All I Need is One Thread to Spin a Web - 45:39 - Garrosh suggests that Raedak's election could've been influenced magically by him

A Haven Away from Home - 49:22 - Akoralil takes the giants to the Feywild

Left is Left and Right is Center - 51:11 - Garrosh admits to seeing Aryox's divination room

A Memory - 53:31 - Garrosh tells them about the Archfey in the Feywild during his time

A Fairy Remembers - 55:43 - Garrosh bows to Oberon/Foster

Secret Basement - 1:00:16 - Garrosh talks about Raedak's bloodlust and Havoc

All I Need is One Thread to Spin a Web - 1:02:42 - Telling Garrosh about their encounters with Havoc and Gowan's presence

Shadowfell - 1:06:27 - Looking for the source of Havoc's smoke

Illsed's Secret - 1:11:18 - Moving deeper in to the hallway with the mist, moving towards Havoc's source

The Purge - 1:14:34 - Scrawled writing / Gowan in the carvings

Note: Berelain (the hill giant) just gets a generic combat song as her intro.

[minecraftbookshelf]

WIP Wednesday

From There and Back Again, the third arc of the Marriage of State AU, which I have not talked about at all. Enjoy!

It took Shrub a moment to realize that they'd lost a member of the party. They turned in their seat, the Mother Wolf halting while they looked back the way they came. Katherine and Sausage were both still there, treading carefully over the red ground. Katherine absentmindedly petting the wolf beside her while Sausage gestured wildly as they spoke to each other. And nearly out of sight, back where the crimson turf and mushroom-trees turned to basalt and blackstone, the Elf King stood still as a statue, staring into the depths of the lava sea. Katherine and Sausage noticed her staring, and looked back in turn. After a moment of no one, not even the wolves moving, Sausage hopped back down the hill and approached the elf. "Xornoth? Are you alright?" It's been almost a year and it is still weird to hear genuine concern in the King of Mythland's voice, instead of the mocking cruelty that was all Shrub had ever heard from him in her time here. Katherine has assured them that this is the real Sausage, but they can't help but be wary anyway. Xornoth tilted their head to the side, branching black antlers brushing against crimson vines. It is a familiar silhouette that sends a shudder down Shrub's spine. "I'm going to try something." With no more warning than that, they shuck the outer layer of their travel robes the way Shrub's little cousins would shed their clothes to go swimming in the summer, tossing the fine-woven wool so that it lands on a sputtering Sausage's head. And the king of Rivendell dives headfirst into the lava.

-

AU Masterpost

[geoledgy]

OH OH OK I GOT A QUESTION. whats the youngest like, volcano in the san francisco volcanic field

Sunset Crater!!!!!!!!! My favorite volcano everrrrrr, it erupted around the year 1050 so it's very recent in geologic terms - it's about 950 years old. It also means the San Francisco volcanic field is still active (not Sunset Crater though, that is a cinder cone so they only erupt once and then it's over - we call that a monogenetic volcano). Sunset Crater National Monument is managed by the NPS near Flagstaff. The red is from oxidized basalt (contains iron). Also, the Sinagua people in the area witnessed the eruption, safely evacuated, and eventually relocated to areas like Wupatki and Walnut Canyon due to volcanic soil allowing the areas to be farmable. I am a volcanologist so I understand the in-depth geology of Sunset Crater better than the historical and cultural significance, but I do recommend doing your own reading on it if that interests you too cuz I always think it's incredibly neat how human and volcanoes are so intertwined with one another, one way or another.

btw...Sunset Crater also makes a lot of "cameos" in my story Uranium Rush cuz the fictional town of Sandstone Springs is nearby it. If you ever see me draw a reddish looking volcano cone in the desert that isn't the San Francisco Peaks (Very large, jagged, has snow) it's most likely Sunset Crater! Anyways...from my understanding, every hill in Northeast Arizona is actually a cinder cone, so I think that is super neat...and there's like 600 of them in the area.

Also, SP Crater is the 2nd youngest at about 5.5k - 6.0k years old, still seems pristine bc its crater rim is compose of resistant lava. (Sunset Crater has a tiny bit of crater collapse which you can see on the left side in the previous image)

Thank you so much for the ask!

[sketchytea]

Suddenly Vernon beamed at her. “Look outside,” he said softly, cradling her hand between his. Peering through the window of the carriage, Cirilla gasped. They were just drawing across the ridge, and beyond she could see white road winding across the hills. Sharp black basalt cliffs formed the background, overgrown and dotted with flowering bushes and trees. Where the capital had been grey and stormy when they departed, spring had already come to these hills. The burst of red and violet bushes in front of the black cliffs were marvelous, and the fragrance of them even made it past the windows of the carriage. “It’s beautiful…” Strong, warm hands squeezed hers. “The garden districts usually have an early spring, because the mountains shield them from the rough sea winds,” Vernon said.

[country-corner]

Greetings and Salutations from the Middle of Nowhere

I know it has been a while, this is the first time I have been able to get on line. Have to use wifi right now so limited in time I have on line

Update on our home sale and purchase of new place:

A young couple with a pre-teen boy, purchased our old house. And since (so I have been told and confirmed with my own eyes) has proceeded in cutting down all the trees, the Saskatoon blueberry bush, pulled the table and Oregon grapes out and cut out all the blackberry vines back to the property line. They also have 3 cars in the old garden area sitting on blocks. The old neighbors have told us they want us to move back. Sorry, not happening.

Regarding our new place; we have a larger place. It is a mix or basalt, jack pines in sandy soil and some really nice soil. Put in 500ft of driveway (cutting trees, pulling stumps and dragging the "road"). Now the power company will come out and give us a bid to bring in the power (less than a quarter mile from nearest transformer).

Did have a bid from a well driller, but they wanted the driveway in first, now they are not answering their phones. So we are contacting a different driller tomorrow.

Telephone company wont put in a land line. since we are "too far away from the main road". 1 mile long private road, that nearly everyone on the road wants to have a land line due to spotty cell service (closest towers are over 25 miles, as the crow flies, away, with a few hills inbetween as well. Closest telephone pole to my place is a little over 1/4 mile as the crow flies, and found out the telephone company does have legal right-away up to my property line, coming from the East across country.

The previous owners refuse to release the perk test they had done or the name of the engineer they had do test and septic design. Since no permit for a septic system was ever requested, the County doesn't have a copy of the test, engineer name or septic plan. So we are going to have to have that redone.

And finally, the Post Master refuses to accept the address the county gave us for the property for mail delivery until (in his words) "There is a proper house with a foundation on the property and he has confirmed it with his own eyes." Despite the fact the address has been accepted and used by both State and Federal offices. And in this state a tent or camp trailer is considered a legal residence if placed on your legally owned property. So we are getting our mail delivered to our daughter's place, 35 miles away.

Despite all of that, we are having the time of our lives out on our new property. Enjoying the wildlife and the peace and quiet of being out there. Laying out the food plots for the deer. Using the native basalt to build the raised garden beds. We have even started digging the trenched for the root cellar and fuel storage sheds. And not a day goes by when I don't see wild turkeys or a deer on the property. Did miss seeing the black bear that came through, running from the wildfire on the other side of the river, we was in town getting supplies.

Well that is all for now. I wish you all peace, happiness and a great upcoming week. Be safe and take care.

[ladymarinamart]

Suddenly Vernon beamed at her. “Look outside,” he said softly, cradling her hand between his. Peering through the window of the carriage, Cirilla gasped. They were just drawing across the ridge, and beyond she could see white road winding across the hills. Sharp black basalt cliffs formed the background, overgrown and dotted with flowering bushes and trees. Where the capital had been grey and stormy when they departed, spring had already come to these hills. The burst of red and violet bushes in front of the black cliffs were marvelous, and the fragrance of them even made it past the windows of the carriage. “It’s beautiful…” Strong, warm hands squeezed hers.

“The garden districts usually have an early spring, because the mountains shield them from the rough sea winds,” Vernon said.