Common Greetings in the Kishite Language: Important Phrases for Travel
It's been awhile since I did a worldbuilding post (Hopefully there won't be too many typos in this one.)
This is entirely unprompted but this is mostly just an excuse for me to share some of the conlang stuff I've been working on
I copied a list of important phrases for travelling in Greece but of course instead of translating them into Greek I have translated them into the Language of Kishetal, Kishite.
For those of you who may be unfamiliar to my WIP, is the primary setting of the first book. Kishite is a loose cultural region on the eastern edge of the Green Sea. For more info about the Kishite Language click here.
See Below: A Cultural Map of Kishetal, and the Kishite Syllabary
Note that these only account for mainland dialects of Kishite. Colonies and settlements in places like Makora are considerably different.
Hello (Formal): Dasuda (DAH soo DAH)
Hello (Informal): Dusa (DOO sah)
Hi/Hey (Very Informal): Du (DOO)
Dasuda should be used when talking to those of a higher societal rank than yourself, elders, and for groups of people. Dasuda and by extension the other two words, Dusa and Du, come from a shortening of the phrase, Irun dasu uk da(a)b (EE roon DAH soo ook dahb), which literally means "Good things for you" which is itself a shortened version of Gipikoni janu ch(i)un irun dasu uk da(ab) (Gee pee KOH nee JAH noo choon EE roon DAH soo ook dahb)meaning "May the gods send good things for you." Well these two longer greetings are largely unnecessary, using them can be seen as a sign of respect.
Nice to meet you/Good to meet you: Ga dasu kugiwaz da(a)b (GAH DAH soo KOO gee wahz dahb)/ Gadaka (informal) (Gah DAH kah)
Literally "(It) Is good meeting you" Use this phrase when meeting someone for the first time. If meeting multiple people instead say Ga dasu kugiwaz da(a)bun. In more informal situations you may be fine to simple say Dakuda (DAH koo dah. If you’re about to take off at the end of an interaction, say "Ga(a)s dasu kugiwaz da(a)b" means “(It) Was good meeting you."
How are you?:Â Mowa Da La?
When addressing two or more people, use the plural and say "Mowa d(a)un lan(a)as"Â (MOH-wah doon lah-nahs). You can also ask the much more informal "Moda" or "D(a)la/D'la" which translates to something like "Sup"
I'm well/healthy/good/happy:Â Wa Dasi/Daja/Dasu/Bira
Any of these are appropriate responses.
You can also add, "Ash", to the end of any of these (AHsh) for “very." For example very good would be Dasu ash.
Other possible responses include:
Ill/Bad : Nadu/Kosu
So/so: Dakudaku
Okay: Nidasu
And you? = Da?/ Al Da?
Goodbye: Datara (DAH-tah-rah)
Bye: Du (DOO) (Same as Hi)
From Dasu Taraliwash which means "Good leaving/embarking"
Another common farewell for non-coastal areas is "Wi Ri al janu Ch(i)un itpali" (Wee Ree AL jah-noo CHOOn eet-pah-lee) this translates to "Be alongside the sun and the gods" when in coastal regions or speaking with a sailor replace Ch(i)un with Jabisa (Sea).
Good morning:Â Darire/ Dari
Shortened from Dasu Riture (DAH-soo Ree-too-reh) (Good morning). Use this as a standard greeting up until around noon.
Good afternoon/Evening:Â Dayulumu/Dayu (DAH-yoo-loo-moo) (DAH-yoo)
Shortened from Dasu Yulumu (DAH-soo yoo-loo-moo)(Good Late Day)This greeting is said around late afternoon, dusk, and into the evening. This the greeting used anytime between Noon and bedtime.
Shortened from Dasu Dura(a)t (DAH-soo doo-raht)( Good Darkness) Say this when bidding someone saying farewell in the evening, typically when preparing for sleep.
Thank you:Â Olda(a)b (Ohl-dahb)
From the verb "Oldi-" meaning To Thank and "Da(a)b" meaning You. To say "Thanks very much," just add "Dana"Â (Dah-nah).
Please: Pakida (pah-kee-dah)
It's polite to say Pakida (pah-kee-dah) after asking for something. It can also be used to mean "I beg your pardon?" or "Huh?" when you want someone to repeat what they said. When talking to a person of higher status add the honorific before, for example "Nin(i)jali pakida..." (Princess please...")
You're Welcome: Na (nah)
There is no specific word for thank you, rather to acknowledge gratitude you simply respond with the word for no, "Na". The higher the position/status of the person who has thanked you, the more times you should repeat Na. When thanking a king you should say "Na" no less than seven times. It is important to watch your tone when using this. It is typical to accompany "Na" with a bow or inclining of the head, while not maintaining eye contact .
My name is ...:Â (En) Kubit ikir wani ... (koo-beet ee-keer wah-nee)
Literally "(The) Name of mine is..." alternatively use "Ik egirwa..." (eek eh-geer-wah) (I acknowledge...)
What is your name?:Â Dowa wani (en) kubit da(i)r? (DOH-wah wah-nee koo-beet dahr)) /Dowa wani da(i)r/ Dowa da egirla?
Literally "what is the name of yours?" or " What do you acknowledge?"
How do I say?:Â Mowa akkuwa? (Moh-wah ahk-oowah)
Say this when you want to know the Kishite word for something.
Yes: Duda (Doo-DAH)
For non-verbal ways of communicating yes either incline the head forward well retaining eye-contact (not a bow or a nod) or touch the nose with either index finger. Clicking one's tongue can also be used to say yes, typically when purchasing something, though this is very informal and not appropriate when talking to someone of higher or even equal status.
No:Â Na (Nah)
For a non verbal form, tilt the head to the side, the more extreme the tilt the more emphatic the no. Touching the ear to the shoulder shows extreme displeasure or disinterest. Additionally a sharp hiss between the teeth can also be used as an informal way of showing disinterest.
Excuse me/sorry: Akdi (Ahk-dee)
Say this to get a person's attention, ask to pass by, or apologize if you've bumped into someone or otherwise inconvenienced them.
Oops: Wu! (Woo)
Typically used playfully, the sort of thing you say after you make a silly and non-harmful mistake, like dropping something or tripping. Use in cases where no apology is needed.
Literally "What do you want in exchange for this?" or you can simply say "Dowa lutuki?" and point to what you want. You do not necessarily need to include "enrila" which means "you want" as this is typically implied.
I don't understand: Na ludakiwa  (Nah Loo-dah-kii-wah)
Alternatively a palm placed flat over the left ear is a non-vocal indication that either you don't understand or you can't hear.
Help!:Â Pasisi! (Pah-see-see).Â
Cheers! : Daliwi! (Dah-lee-wee)
From "Dasu Oliwi" meaning "Good Blood" or "Health".
First longish post I've made in a bit! Hope y'all enjoy it.
If there are other phrases or words that you would like the translation for, let me know!
If y'all notice any mistakes or typos in this, send me a message so I can fix them! Same goes for if you have questions! I'm also just stealing the taglist from the last linguistics post I made, hope y'all don't mind.
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Hello everyone! A confession, this is actually a re-introduction. I've been here on Tumblr for a little less than a year now, but I haven't been the best about being active, life just sort of got in the way. As such I would like to reintroduce myself and what I've been working on.
For the purposes of Tumblr and in the interest of privacy you can call me C. I am in my mid-twenties, I use he/him pronouns, and I am happily married to my partner, who is also a C. I am queer, as is my partner. I enjoy cooking, fishing, Dnd(ing?), reading, and of course writing.
We both originally come from the US but we are currently living on the east coast of Scotland as I pursue my Msc in Archaeology.
I am trying to be a bit more active on here and I am always open to things like tags and asks, even if it takes me a bit to respond.
I think that's about it for me, and so without further ado let me introduce or reintroduce you to my WIP.
Testaments of the Green Sea
Genre: Epic Fantasy
Themes and Tropes (Or more accurately a random assortment of words vaguely related to the plot): Found Family, immortality, loss, love, war, power, memory, magic, insanity, The passage of time, growing up, queerness in the ancient world, violence, spirits, fantasy outside of medieval europe
Summary: Book one of the Testaments of the Green Sea (The lands of the Green Sea are pictured above) follows the journeys of the giant slave Narul and the princess Ninma.
After unexpected tragedy forces the two to flee from the Great city of Labisa, they find themselves on a journey which carries them across the ancient lands of Kishetal. Along the way they encounter spirits, demons, war, gods, pirates, and slavers.
TW for death/grief, violence/blood/gore, mental illness, physical illness, abuse, and cannibalism, awkward queerness, secondhand embarrasment etc, etc.
Excerpt( First Paragraph of Chapter 1):
The blood dripped into the awaiting bowl, painting its alabaster walls crimson. The slave watched the dark liquid trickle down his arm, skirting past the hairs, rolling veins, and moles. Even after these twenty years of weekly blood lettings, he could not shake a creeping feeling of unease as his eyes followed the sanguine river creeping its way across his arm. His own face gazed back at him from the scarlet pool. He could not meet his own eye, could not stand to look that creature. He turned away.
Draft Status: The second draft of the manuscript is currently being edited, I will be looking for my first round of Beta Readers likely before the end of the year.
This is just part one of a much larger series. My partner is currently working on the beginnings of their own series, set in the same world but 3,000 years in the future, roughly aligning with our own Great War Period.
I'm so excited to share more with you, and I love answering questions!
Updated: Kishite-Shabalic Script and a bit of the Kishic Language: Basics including an expanded list of nouns and verbs
I made this before but looking through it again I missed some things and made some mistakes, and so here is an updated version of this for y'all!
As with the Kishite spoken language, the Kishic script descends from and is largely identical to the Shabalic script, thus the term Kishite-Shabalic. Kishite-Syllabic is one of three scripts used in Kishetal along with Kishic hieroglyphs (reserved for religious/cultic purposes) and the logographic Shetalic script, which has fallen almost entirely out of favour.
The Kishite-Shabalic script is syllabic, thus each symbol is representative of one syllable composed of a consonant and a vowel. In addition there are characters which serve as punctuation used to symbolize the conclusion of a thought, in similar fashion to the Latin "." and "?", and the presence of a proper noun or divine status. Though it should be noted that these are not always actually used.
Unlike the Shetalic script which is traditional formed using styluses pressed into clay, Kishite-Shabalic is typical written either through carving or the use of charcoal/ink.
Shetalic is shown below on the left with Kishite-Shabalic on the right, both say the same thing.
Keep reading for more linguistic babbling!
Vowels
As a general rule when transcribing the Kishite script, when two of the same vowel are put next to one another, they are treated as a single vowel, rather than elongated as we might see in English with words like book or meet or feat. Two different vowels, such as O and E, E and A, and so on, are almost never put directly beside each other. In the rare instances when this does occur the "stronger" of the two vowels will cover the other. The order of strength from least to greatest is as follows:
i-e-a-o-u
The vowels of the Kishite language are pronounced phonetically
Thus:
I as in sweet or pin
E as in egg
A as in palm
O as in coat
U as in tool
e.g. the substantive adjective "the Mighty" Urjali- + -ul (substantive ending)
Urjaliul
Urjaliul
Urjalul
(OOr-Jahl-OOl)
Special Note: One important differentiation between the Shabalic language and the Kishite language is that the Kishite language allows for the placing of multiple consonants in sequence. Take for example the Kishic name Ninma, in its original Shabalic form it would be Ninama (NI-NA-MA). Because of the fact that Kishite does have this trait, it has developed its own unique form of punctuation, the vowel drop. When placed below one of the syllabograms shown above, it cancels out the vowel, in essence rendering it mute. Ninma could alternatively be spelled using the formulation NI-IN-MA, similar to how Narul was spelled above, this is largely a matter of personal preference. The more traditional (Shabalic) form is often times considered more in keeping with nobility.
Sentence Structure
The Kishic language primarily follows a subject-object-verb structure.
Otilya (there is no -ia symbol in Kishite) Korithub luku ga.
Otilya Korithub luku ga
Otilia Korithia from is.
Otilia is from Korithia
Enni Wi tuba chi Jahubur horu jawishaga
The wind down the Mountain hard blows.
The wind blows hard down the mountain.
Noun and Adjective Declensions
The Kishic language system consists of the following cases: nominative, genitive, dative, accusative, and possessive (the Shabalic language includes an instrumental case), and distinguishes between two numbers (singular and plural) and four genders, Masc/Neutral (undefined groups or individuals), Feminine, Inanimate, and Divine.
Divine beings such as gods and certain spirits as well as the Sun, Mountains, Rivers, and the Sea are always referred to in the Divine gender. Some monsters also fall under this category. (Water Bi (Inanimate), Lake Bi (Divine))
Objects which are not and have never been alive are rendered in the Inanimate gender. This can get confusing in some instances, for example while the word corpse Nahoku would utilize the masc/neutral form, the word bone, hashudi, would utilize the inanimate. Another example of this is the word Oli which can mean either blood or wine based on whether it utilizes masc/neut or inanimate declensions.
Not all inanimate objects are rendered into the inanimate. Words like spear shukala use the masc/neutral. This group typically consists of weapons and tools. The stem used will depend on the root word.
Plants as a rule are always rendered into the feminine.
Cities and countries are neutral.
Royal Titles have a specific declension.
A few examples of declension are given in the tables below.
Sample Verbs
Verb stems always end with -i. The exception to this is the verb to be, which rather takes the form of the conjugation, thus the first person singular indicative present sample or "am" would be wa.
Talk: Akki
Breathe: Ki
Eat: Ushki
Struggle: Nari
Sleep: Eshsi
Fight: Orishri
Hunt: Pabakazi (Literally Bow art(ing))
Dance: Irteti
Kiss: Mishuzi
Copulate (and the more vulgar equivalent): Seshiti/Tu(u)ki
More verbs will be provided below.
Verbal Conjugation
There are two conjugation groups within Kishite verbs, the ha/za/hi-conjugation and the wa/ya/wi-conjugation. Which conjugation is used is dependent on the verb in question, typically words with a Shabalic root use the wa -conjugation while words derived from native languages more often use the ha -conjugation.
Within the Kishite language there are two voices (active and medio-passive), three moods (indicative, subjunctive, and imperative), three aspects (perfective, imperfective/continuous, and simple), and three tenses (Past, Present, and Future)
The present tense can be identified by -i/-a/-u/-o, past by -as/-os/-us, and future by -ad/-id.
Indicative: Used for Stating facts and thus the mood of reality.
Active: The Subject is the agent of the verb.
Mediopassive: The agent acts as a reflexive agent of the verb (acting upon itself) OR the subject is the target of the verb.
Present Simple Active: Narul is hungry
Past Simple Active: Narul was hungry
Future Simple Active: Ninma will not be hungry
Present Simple Mediopassive: Narul is accompanied by Ninma/ Narul cleans (himself).
Past Simple Mediopassive: Narul was accompanied by Suru
Future Simple Mediopassive: Narul will be accompanied by Mikrab
Present Perfect Active: Narul has slept
Past Perfect Active: Narul had slept
Future Perfect Active: Narul will have slept.
Present Perfect Mediopassive: Bop has been carried
Past Perfect Mediopassive: Bop had been carried
Future Perfect Mediopassive: Bop will have been carried
Present Imperfective/Continuous Active: Narul is walking
Past Continuous Active: The Deep Sun used to speak
Future Continuous Active: Zatar will be fighting
Present Continuous Mediopassive: Bop is being carried
Past Continuous Mediopassive: Bop was being carried
Future Continuous Mediopassive: Bop will be being carried
To make a phrase conditional, add Ek-, before the indicative form.
Subjunctive: Used for stating "unfacts", wishes and prayers, statements of necessities (you must) possibilities (may or might), hypotheticals, and opinions/judgements.
There is no Future conjugation for the Subjunctive, rather future events are expressed in the present through the use of may or might.
Additionally the Subjunctive is used for the following:
Jussive: used for suggestions and negative commands: What "should" or "should not" happen used only in the first person," we should leave/we should not leave" esh = should, na(e)sh = should not
Purpose Clauses: "So that/ in order that" am = so that/in order that
Doubtful Assertions: "May not/Might not" er = may/maybe, na(e)r = may not, eb = might, nab = might not
Certain Future Assertions: "There certainly will..." erna = certainly (literally without maybe), na(e)rna = certainly not
Present Simple Active: We should run/ Narul wishes for rain
Past Simple Active: Narul wished for rain
Present Simple Mediopassive: If Ninma is stopped
Past Simple Mediopassive: If Ninma was stopped
Present Perfect Active: Narul has wished for rain
Past Perfect Active: Narul had wished for rain
Present Perfect Mediopassive: If Bop has been carried
Past Perfect Mediopassive: If Bop had been carried
Present Imperfective/Continuous Active: Narul is wishing for rain
Past Continuous Active: Narul used to wish for rain
Present Continuous Mediopassive: If Bop is being carried
Past Continuous Mediopassive: If Bop was being carried
Imperative: Used for orders or commands/strong requests
Imperative is only conjugated in the second and third person singular or plural. Imperative is only used in the present and future, not for the past. Orders in the past are expressed as indicative. There are only Perfect and Imperfect Imperatives.
In the mediopassive form the imperative is translated as "Let them/you" for the first person of this the subjunctive is used "I/We should"
Present Perfect Active: Stop
Future Perfect Active: You will stop
Present Perfect Mediopassive: Let it stop
Future Perfect Mediopassive: Let it be stopped.
Present Imperfective/Continuous Active: Always stop
Future Continuous Active: You will always stop
Present Continuous Mediopassive: Let it be stopped (continuously)
Future Continuous Mediopassive: Let it be stopped (continuously)
coAdditionally, the verbal system displays infinitives and participles in the present and past tenses.
Prounouns
There are four genders of pronouns; Masculine, Feminine, Neutral, and Divine. Objects with the Inanimate designation are given neutral pronouns. Only deities receive divine pronouns, other entities and places in the divine categorization will typically receive feminine pronouns, with the exception of celestial bodies which always receive masculine pronouns.
It is considered improper to address both royalty and deities with pronouns, as such there are no specific first or second person pronouns for the Divine category.
Articles
As with pronouns there is no "inanimate" article group, rather inanimate subjects are given masc/neut articles.
Stay Tuned for the ridiculously long Dictionary post that will be coming soon(ish)!
This post and the dictionary post are why, despite being back, I still haven't been all that active. I'll respond to a couple tag games tonight and I'll try to do more tomorrow. I'm still planning on doing the Korithian Recipes! Money is just tight at the moment so I'm waiting for paychecks!
If y'all notice any mistakes or typos in this, send me a message so I can fix them! Same goes for if you have questions!
Hello everyone! This is the next entry in a "guide" I'm creating here on my blog for one of the cities in my WIP, Labisa. To see chapter one click here.
Here are some other posts that you may want to check out : Intro, Language, Phrases, Food Pt1, Food Pt2, Maps, Magic, Status Symbols, Labisa Tour, MC intro.
This is a long one folks so I'm splitting it into two parts.
Btw the pottery images here come from the app Pottery 2.
Chapter 2: The Markets and the Humbalibal Festival Part 1
At the end of the olive harvest when the city of Labisa holds its annual Humbalibal Festival in honor of the city's patron goddess, the place to be is not in the grand halls and inumeral rooms of the palace, but rather in the twisting maze of streets, market stalls, beer halls, street performers that the people of Labisa call, Enun Tu-Shet Tabun, The 26 Streets.
While the palace complex serves as the political, military, and manufacturing core of Labisa and the lands it governs, if you want to learn about the people and culture it is essential to visit the markets. Visiting during the Humbalibal Festival provides the added benefit of getting to meet an learn more about the thousands of foreign visitors who pour into the city for the celebration, providing a glimpse into the hundreds of cultures that make up the Green Sea and beyond.
In this guide, we’ll walk you through one day in the 26 Streets during the height of the Humbalibal Festival using a hypothetical scenario to introduce you to the sounds, sights, and oddities of Kishetal's largest city.
Continues Below!
Part 1: Entering Labisa
If you are not a Kishite from another city-state or a Makurian, chances are you arrived in Labisa via boat, landing at the bustling docks, the largest and most prosperous freshwater port in the Green Sea. Around you, people carry a variety of goods, from grain and livestock to copper ingots, jewelry, weaponry, and even exotic beasts like tigers and ostriches.Â
You spy a cage with a rarakalu (yap dog), a strange magical creature more closely related to hyenas than actual canines. These creatures are able to perfectly imitate human speech, quite eerily, in their native arboreal habitat where they swing with prehensile tails. But this one has been captured and is now being used for entertainment. You feel a twinge of pity for the creature as it belts out an Ikopeshi sailing song at the behest of its purple-haired master, but before you can think more about the topic, you are beckoned towards the city by the man who brought you here. After all, you paid good money to see this festival.Â
You are far from the only person entering the city. During the days before the festival, hundreds of people are guided through the Serpent Gates, so called because of the two massive stone-horned serpents that stand guard on either side of the grand cedar doors. Before you even enter the city you catch a glimpse of three great hills. The largest is the palatial hill, atop which stands the palace of Labisa, a city unto itself. The second is the Temple Hill, topped by the sprawling Temple of Humbalibal, the largest temple dedicated to a Kishite deity in the entirety of the Green Sea. Even from here you can smell the burning of sacred herbs and meats, and see the column of smoke rising from the great stone altar.
The last and smallest hill is not a hill at all, but a manmade structure, the Tomb of Tamel. This gargantuan structure is the resting place of the city's founder, the demigod Tamel. The trees growing on the tomb are fig, date, and pear. Visitors to Labisa often pay to purchase these fruits from the priests. It is believed that using one of the fruits from Tamel’s tomb for a sacrifice or offering will serve to better win the favor of the gods.
There will be time to gawk at the Tomb later, your guide reminds you. He insists on pushing you past the Grand Square where the Tomb resides. You catch glimpses of dancers dressed in animal furs or else draped in copper bells, men banging on drums, and strange forest folk with horns and tusks. The delicious smells of dough and tiny fish frying in freshly pressed olive oil waft from the little huts and stands that have been propped up in the square to feed eager visitors. These pleasant smells mix with the less pleasant aromas of the city.
You're hurried forward down the main street, past priests and priestesses and prostitutes calling down at you from the windows of brothels. A chariot rumbles past you, its owner dressed in his bronze armor, polished for the festival.
Your guide brings you to a beer hall, the place where you will be staying. As the name suggests, the primary function of a beer hall is to serve beer. Throughout Kishetal, beer has traditionally been brewed and sold by women. Labisa alone has 19 beer halls, all but one of which, including this one, are run by women. These halls typically serve five varieties of beer (see below) and may also serve some food, though not always. This particular beer hall is owned by a woman by the name of Huma who has agreed to board and feed you for the next couple of nights, for a small fee of course. Your guide has already taken care of this.
Aruhakishar/Akishar: (Aruha- Dry, Kisharu- Beer) Unadulterated, typically plain beer, this sort of beer is the basis for the other varieties. These vary from brewer to brewer and can differ greatly in terms of strength, flavor, color, etc. This tends to be the cheapest option.
Ishkishar: (Isha- Sour/Bitter Kisharu- Beer) Aruhakishar typically with the addition of various herbs, nuts, and even minerals. This beer is typically seen as invigorating, good for lifting the energy and strengthening the resolve against wicked spirits. Few people drink this casually.
Wakishar: (Wawa- Sweet, Kisharu- Beer) Similar to the above but rather than the addition of herbs to promote bitter and sour flavors, this variety of beer is typically sweetened with the addition of various sweeteners, most often date syrups, honey, and fruits like fig. These tend to be the most well-liked variety of beer and fall in the middle when it comes to price.
Olikishar/Olkishar: (Oli- Blood/Red, Kisharu- Beer) This variety of beer is similar to Wakishar but is flavored specifically with the addition of red fruit, like pomegranate, cherry, and various mountainous berry, giving it that crimson appearance. Some beer halls may add other additives to increase this sanguine appearance. Depending on the quality, this may be the most expensive variety of beer sold at a hall.
Ihikishar/ Ihiki: (Ihi- Giggle (haha), Kisharu-Beer) This particular variety of beer is not sold in all halls and tends to be the most expensive, and is viewed among the common folk as more of a treat. This beer can be any of the above with addition of the treated oil of the magical Kasikur plant, also known as jit(from a Forestfolk word). Drinking jit mixed with wine may cause various effects, most commonly a slight high, similar to cannabis. However the use of jit is highly regulated as its magical effects, when consumed in sufficient amounts can have dangerous and bizarre effects.
It's already quite late and you have a busy day tomorrow. Before bed, Huma gives you a bowl of what seems to be a mixture of leftover Akishar and Wakishar, producing a mildly sweet if somewhat dull drinking experience. For food, you are given a large piece of barley bread, some olives, a hunk of unsalted goat's cheese which may be slightly past its prime, and some chakun from the butcher next door. Chakun is typically made from pig or lamb skin, fried in its own fat and then seasoned with salt and herbs. This is somewhat comparable to "cracklins" or chicharrons. Labisian cuisine in general holds an appreciation for crispy or crunchy textures that is relatively unique among Kishite city-states.
After eating you are brought to the underground cellar, the ground little more than dirt and reeds, where the large pots holding beer and grain are kept. You are not the only guest staying there. There are two Korithians, a Baalic man, and a Makurian. You mostly keep to yourselves as you settle onto the piles of reed and old cloth which Huma has provided for you beds. The Makurian introduces himself as Jerat, and explains that he comes the Tijik Tribe who inhabit the lands east of the Red Cedar Mountains. You both speak the Labisian dialect of Kishite as this is the most commonly taught dialect outside of Kishetal, alongside the Chibalic dialect. Jerat informs you that he was in the city for the previous festival when the current king, Akard, dethroned and killed his uncle Hutbari. He is happy to report that since Akard has become the king the city seems to be much cleaner and he wonders what the new king's conquests around Lake Shebali will mean for the festival. After a bit more pleasant conversation, you dim the olive oil lamps and go to sleep.
IMPORTANT: When talking to Makurians, it is best not to call them Makurians. Makur (Or Makia in Korithian) is the term used by Kishites and Shabalans to designate the lands east of Kishetal and north of Baban, Jezaan, and Ukkaria. In truth "Makur" accounts for a gigantic swath of land and is home to hundreds of different groups and cultures, each unique in their own right.
Bonus Fact: Makur derives from the Shabalic word for east, maku.
Part 2: Starting Your Day
You are roused by the sound of singing outside in the streets. The first of many processions making its way from Temple Hill to the base of the Great Tomb. The last and grandest procession will come from the Palace and will be led by the King and his closest lords. You and your sleeping companions stumble out of the cellar to see what the fuss is all about.
This particular procession comes from the temple of Kimaba, goddess of the oven and of bread. As the small collection of priestesses and priests march down the road, they pour barley grains on the ground in supplication to the ground, unintentionally feeding the rather fat flock of birds which circles behind them. They sing ancient stories, in this instance the tale of the demigod Lat and his lover, Uridush. They carried aloft a statue of the goddess, the four-armed figure draped in the pelts of the temple guard dogs, collected upon each dog's passing and hung around the statue to fend off mischievous spirits. A few people rush forward to pluck hairs from the pelts as it is believed that adding these to grain will help to preserve them. In order to preserve these revered artifacts, one particularly sour-faced priestess wacks at anyone that comes close with a large cedar rod. A group of boys dare one another to get as close to the rod as possible, all fun and games, until one boy finds himself not quite fast enough and is left sniffling and enduring the teasing of his peers while rubbing the welt forming on his back.
Bonus Fact: Throughout Kishite History there have been several demigods or spiritbloods. The most famous of these was Tamel. Other famous demigods include the hunter Lat, the boar-headed demigod Hu(u)m, and the pirate Kilala. Still living figures like Mikrab the Mad and The War Queen Batricca often feature in songs and tall-tales.
As the procession passes on you duck back into the beer hall for a morning meal. You are not the only one, festival goers and locals alike are seated on the various benches and chairs. You are given the breakfast of choice, "gokigu", a mixture of stewed and mashed barley, old beer, and a thick variety of yogurt called ishjir. For the price of cleaning some bowls, Huma also adds a drizzle of honey and a sprinkling of black pepper to your bowl.
You ask some of the locals seated nearby where you should go first and they suggest you visit the Hall of Gods via the Dyer and Fishermonger's Streets. With a plan in place you leave the beer hall and start your day.
Part 3: The 26 Streets and the Hall of Gods
Though the market district is called "The 26 Streets", this is a bit of a misnomer. Many of these so-called "streets" actually fall on different sections of the Road of Tamel, which leads from the Tomb of Tamel to the Palatial Hill, with parts of the market then branching off from the main road to places like the Temple Hill. While to the untrained eye, the lay out of the markets may seem uneven and chaotic, in truth they are highly regulated by the palace, with each kind of business/trade limited to its own district. This serves not only to make issues of taxation easier, but in theory serves as a sort of consumer protection. By putting all of the options for a certain trade in close proximity, it allows potential customers to look around and make their own judgements before buying.
Palatial officials regularly inspect the districts in order to insure that no one is trying to sell outside of their approved district and to collect fees and taxes relating to breeches in law or conduct. One of these officials are properly referred to as an Uhwaku but you are more likely to hear store owners and locals refer to them as Tidiku or simply Tidi which means "Rat man" or "Rat", as they "steal" your grain.
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 Basketweaver’s Street
The Papermaker's Street
The Musicians’ Street
The Farmer’s Street
The Candlemaker’s Street.
CAUTION: Before starting your adventure make sure that you have strong bottomed footwear. Though much has been improved in terms of sanitation since the reign of the previous king, particularly with the cavernous underground waste tunnels being properly tended, the streets are still far from clean. Broken pottery, animal feces, and other refuse are common on the streets and the last thing you need on your big trip is a cut or worse an infection.
The Butcher's Street
Your beer hall falls on the boundary between the Butcher's Street and the Farmer's Street. As the name suggests the Butcher's Street is where the majority of the city's meat is processed though it is also where products made from bone or horn can be purchased. The Farmer's Street is where produce as well as game from outside of the city is sold, it is the largest of the markets but it also one of the least well-suited for visitors such as yourself, as the traders there have little time to entertain your prodding and questioning. Luckily for you, the path to Hall of Gods takes you through the Butcher's Street.
Its still relatively earlier, which means the stalls are still well stocked. Goat, horned-rabbits, pork, mutton, and waterfowl are hung proudly for passers by to inspect and haggle for. Children paid in sausages and scraps swat away at the insistent flies with paddles made from reeds and horse hair. You won't find any chickens here as they have yet to be introduced in great quantity to this part of the world. Cattle is also another rarity, such creatures being far too valuable for consumption for any but the most elite.
You stop to inspect one stall one the owner sees you and approaches with a spoon which he claims is carved from a ram's horn. The carvings etched into the blood are quite well-done if not somewhat basic. Aside from metals, horn is perhaps the most revered material for spoons in Kishite society and owning a well-made horn spoon is a sign of status, particularly one from a well-grown ram or bull rather than a horned rabbit. Perhaps it could even be worth the exorbitant price he's asking (two silver coins). But are you confident in your ability to identify what is actually horn and if so, to haggle the price down?
Mini Lesson #1: Haggling and Money
Coins are still a new innovation in Kishetal, only being adopted a few decades before your visit. Much of the city still uses barter, though unless you have some grain or other valuables hidden up your sleeve, coins are probably your best course. While there are specific Labisian coins, any coin or even an equivalent amount of the raw metal will work for trade.
Haggling is a regular part of life in the markets and most shop-owners expect it. This can come as somewhat of a shock for people from places like Baalkes and Koritha where the prices are typically final. However, before you start randomly throwing out prices, you should know that haggling has a highly structured form that should be followed if you wish to reach a reasonable price.
1) The seller will offer an initial price, usually around twice to four times as much as they actually expect to receive.
Do you like this spoon? Its horn, well-made. I will give it(this) to you in exchange for two sy(i)sbakip.
Dagakila itdili fada? Jir ga, dasamigutas. Tukiwad dab fada lutuki se sisbakun.
2) You must thank them for their offer and inspect the offered item. Even if you have already looked at the item before being given the price, you should do so again. A thirty second inspection should be sufficient before offering your first counter offer.
Thank you, can I see it?
Oldab, hiwa ikab ekkiwaz irab?
3) After you inspect the item give a counter price, go low, perhaps about half of what you actually intend to pay. Do not go too low or you risk insulting the other person. Remember that this should be the lowest offer you give. Offer an explanation why the initial price is too much.
What about (instead) three zubakips? I am a foreigner (m/f) and I do not have much (I have not much).
Ekdowa kala ba zubakun? Wa zuluku/zuluma al nadana kudiwa.
After this, the exchange can be less regimented as you can go back and forth on the price. Be aware though that some sellers can be quite stubborn and some haggling matches can last hours. If you decide that trade is not worth it, bow your head and apologize and be on your way.
Mini Lesson #2: Thunderstep
With your spoon (or not) secured, it's time to continue on your way. You pass by more stalls and shops, a few owners try to lure you in with the promise of cheap or other high-quality products, waving about sausages and roasts. You manage to resist the temptation and continue onward. The street expands into a small plaza. Statues and styles surround you, including a new one which depicts the victory of the new king over the city of Naloch and its allies. The carving of King Akard, dressed in royal regalia with the Ram-horned goddess at his side, stands above you, carved in sandstone.Â
 Four streets branch off from this plaza, including the one you just came from. The ever-growing smell of fish indicates that the path forward is to the west.  Before you can get there, however, you find your path blocked by a large swell of people. You strain to see what they are looking at when you hear (and feel) something strange. You look up to search for clouds but find nothing but the blue sky stretching endlessly. Then you hear it again, a rolling boom that you can feel vibrate through your entire body. It comes again and again, each boom coming in ever rapid succession. It is only then that you realize that what you are listening to is music. You push forward from the crowd to the front. There you find a large platform, its exact construction is a mystery to you. But you have little time to ponder on the platform before you finally find the source of the music. Two Kishite women, bare save for the green paint adorning their arms, chest, and belly as well as the thin ribbons of red fabric tied to their wrists and ankles, are leaping and spinning around one another. They look at the crowd with exaggerated facial expressions, grimacing, grinning, and rolling their eyes. Each time one of their feet hits the platform it produces one of those loud booms. A third woman seated on the edge of the platform plucks at a lyre-like instrument and sings a song about the Hoopoe King.
You have stumbled upon a Thunderstep/Stormstep performance. The style of theater combines dance with music and song to tell a simple narrative. The dances are performed on specially made hollow wooden platforms, producing loud thundering sounds, thus giving the style of theater its name. Thunderstep originates from the pre-Kishite inhabitants of the peninsula, specifically the Karaki people who once inhabited the region where the Kishite city of Seha sits now. Thunderstep has historically been dominated by women, and more often, women are in romantic relationships as this is believed to improve their performances. Thunderstep has been banned off and on throughout Labisa's history, most recently by the previous King Hutbari. Luckily for you, King Akard legalized such performances yet again.
As the performance finishes, people place bronze coins, fruits, and other trinkets and small objects on the stage. You are free to do so yourself.
NOTE: Place your offering on the stage; do not throw it. Throwing it may cause another boom and is viewed as disruptive. Do not try to get the performer's attention as this will almost certainly earn you some annoyed glances from other members of the audience.
The Fishmonger's Street
As you approach the Fishmonger's street, the smell of fish and rot intensifies, there is perhaps a reason why you see fewer foreigners there. As you near the first shop you are waved down by an older woman seated before a large bronze inlaid chest. She holds out her hand expectantly and demands a single bronze coin.
One bronze.
Ku Zubakip.
As you try to ponder what exactly she wants, another person slips around you and places a coin in her hand. She nods and hands the man a small clay vial, no larger than your thumb. The man pours the contents in his hand and then smears it over his mustache before walking into the fishmarket.
The woman turns back to you, raising her hand once again. After a moment of hesitation you hand her a bronze and she places a vial in your hand.
You do as the man before you did, though a bit more conservatively, and apply some of the contents to your upper lip. The effect is eye-wateringly intense. Its a perfume, highly potent. Rosemary and pine resin dominate. The purpose becomes immediately clear as the intensity of the perfume means you can no longer smell the fish, or much of anything.
Continuing into the market, you find locals buying fish caught in Lake Shebali; small minnows, trout, carp, eels, and more. Someone has caught a massive sturgeon and is now auctioning it off bit by bit to a jostling group of customers. At another stand, people crowd around to gawk at a rare import from the west: oysters and scallops. Some bid, not for the meat, which is far too expensive and will almost certainly end up at the table of nobles, but rather for the shells.
In between the shops and stands selling fish are homes. Outside some of these, the owners sit with small portable clay ovens and grills, offering to cook up the purchases of passing shoppers. However, you are still full from your breakfast and decide to move on. The sellers here are somewhat less aggressive than those on the Butcher's Street. Soon enough, you come to the base of a small hill, far smaller than those previously mentioned. At the top of the hill is what you initially mistake for a temple, its walls carved and painted with grand murals of conquests in foreign lands. You have found the Hall of Gods.
The Hall of Gods
You enter the hall and find yourself surrounded on all sides by statues of deities, their styles varying wildly. Some are simple, little more than columns with faces carved into their curved surfaces, others are animalistic, others are quite abstract. There is no rhyme or reason in their ordering. There is only one thing that all of these strange statues have in common: none of them are Kishite.
This is not a temple, it is a trophy room. The deities which surround you are captives, taken from their native lands during the wars and conquests of Labisian kings, starting with Tamel. Fifty-seven statues and idols can be found in total. Ikopeshi, Apunian, Makurian, Korithian, Baalkic, and more are all represented. Perhaps you spot a deity from your own homeland.
Workers on ladders work to fix cracks and apply fresh paint to the strange faces. As you contemplate one of the statues, you feel a hand on your shoulder and turn to find yourself face to face with a Labisian guard. You are steered out of the hall and initially assume that you must have done something wrong, but it is then that you see the procession of priests approaching the Hall. You have done nothing wrong, you were merely in the way. This particular procession, banging at bronze bells and wailing, belongs to the temple of the war god Orikki. The head of their orders holds up a dragon bone spear, as old as the city itself. Two men lead jackals with leather leashes. Gripped in their other hands are gold-sheathed knives. As they enter the hall, the doors are shut behind them. Unfortunately (or perhaps not so unfortunately) you, as a foreigner, are not permitted to see the rituals they are about to perform.
The Lower City
With exploring more of the hall out of the question, you decide to follow the road to the part of the market that seems busiest, though you have little interest in cutting back through the Fishmonger's Street. You soon enter the Lower City, so called because of its elevation in comparison to the Palatial and Temple Hills, not its location on the map. The Lower City is made up of 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. Unlike the rest of the city, many here are practically nude, dressed in little save for a loincloth (besawi), some wear even less than this. Nudity is far less of a taboo in Kishetal compared to many other regions.
There are far fewer travelers here than in any other part of the city you have been to thus far, for it is where the city's poorest live. There are no statues, only a stele or two, the beer halls are puny, and there are no shops. Yet as you walk you find people smiling at you and waving. A few old men try to beckon you over for beer and dice. Though far from perfect, the lives of the least fortunate have improved tremendously since the assassination of the old king. Of course, this does not stop the children on the street from calling themselves Narul or Princess Ninma as they go about their games.
You almost don't want to leave as you hear the bustle and noise of the markets up ahead.
The Weaver's, Perfumer's, and Potter's Districts
The transition from the Lower City to Weaver Street is jarring. These three streets are some of the largest and the most visited of the 26 streets. Visitors rush to gawk at and purchase bits and pieces of Lebanese clothing or textiles. Garments of imported Mu silk, Apunian linen, and Kishite 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 stores, workshops, and homes. Unlike the plain mudbrick homes of the Lower City, the shops here are colorfully painted with whites, blues, reds, and greens, in the hopes that their bright tones will draw in curious patrons. The pungent smell of dye lay over the district like a blanket and the squeals and clicks of the looms and wheels fought to be heard over the many chattering voices. Unless you plan on buying something and are prepared to haggle its best that you do not look at any of the wares for too long, lest you attract the attention of an overly zealous seller.
Through the dye and the ever-present stench of the city, something more appealing catches your attention. The smell of frying dough. One of the shops selling wool tunics (sakalu) is also selling fried dough stuffed with sheep's cheese (Hasolikip). The shop, it seems, is run by a mother and daughter, both dressed in rust-colored fur coats and tunics, despite the heat. The daughter tends to the cloaks while the mother tends to the bubbling pan of sheep's fat. Your stomach growls, and you approach the woman to order a treat, but she simply points to her daughter. The daughter informs you that the pastries are free, so long as you buy a tunic. Her accent is odd, as are her proportions, her arms are longer than they should be and her shoulders broader. What you assumed was a coat was not a coat at all, but rather a thick layer of fur growing across most of her body, save her face and hands. These two are Hillfolk. More specifically, they are Uteshites who have come from their home in the hills to sell their wares for the festival.
Fun Fact: The Hillfolk are fur-covered beings often naturally capable of very minor magic (true magic, not sagecraft, a competent human sage is typically capable of far greater magical feats, though with the drawback of physiological and psychological wear and tear). They are one of the Awakened Races alongside humans and giants. Â They are genetically and phenotypically most similar to the now extinct Stonefolk, and this can be seen in their typically short and broad physique. They are differentiated by their covering of fur, which can vary in color and texture in a similar nature to human head hair, and by their sixth digit found on each hand. It is not unusual for Hillfolk living in human settlements to shave their bodies in an attempt to fit in. Across Hillfolk cultures, a love of perfume and of combs is almost universal. The largest Hillfolk culture inhabiting the land now called Kishetal, are the Uteshites.
After considerable haggling and indecision, you finally agree to buy a tunic, white with green trim, and quickly also get a pastry. The pastry is split open and stuffed with a mixture of cheese, honey, and pistachio. The Labisian love of fried foods may not be particularly healthy, but it is delicious. You quickly finish your snack, your new tunic draped over your shoulder, and continue onward.
Any combination of the scents listed below (and more) can be found. Certain shops may even allow you to combine perfumes to create your own bespoke scent. Each shop marks the jars and bottles containing their product with their own personal stamp, pressed into the clay while it was still soft. Just cataloging these stamps would take hours to complete.
Common Scents/Ingredients in Kishite Perfume:
Rose
Haasir (Fireflower)
Peach Blossom
Apple Blossom
Thyme
Rosemary
Jasmine
Cedar
Myrrh
Pine
Lavender
Fennel
Lotus
Dill
Iris
Pomegranate
Cinnamon
Cardamom
Corriander
Saffron
Beeswax
Clove
Musk
Above: An example of a Kishite Stamp used to signify the origin of goods like perfume.
Well you could spend hours looking and sniffing the vast array of perfumes, you find your head is beginning to hurt. Perhaps its best to get away from all of these potent smells for now.
To finish this first part of the guide, we'll quickly introduce you to some of the sorts of pottery you might find in the Potter's Street.
You quickly move onwards towards the Potter's Street. 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 and glaze. From tiny, ornate perfume bottles to massive pithoi, many of which you recognize from the previous district. Some of the pots, jugs, and jars are adorned with intricate designs, some depicting scenes of daily life, others abstract patterns that seem to dance around the curves of the vessels, still others are unglazed, fiery orange or ashy gray.
Many of the ceramics being sold here were originally created for other purposes. Korithian and Apunian wine amphora, once used to ship expensive wines across the Green Sea, are now empty. A keen eye might recognize a royal pithoi, likely thrown away by the Palace, the crack in its side hastily patched by the merchant that found it. The merchant approaches you eagerly but you aren't in a position to be carrying around much of any sort of pottery, much less an entire pithoi (this one being larger than you). You politely decline and go on inspecting the wares of the various shops.
Each region produces their own distinct shapes and decorative traditions. Below are some examples:
A Labisian Oil Jug
An Apunian Wine Amphora
A Korithian Water Jug
An Ukarrian Beer Mixing Bowl
A Burric (Eastern Kishite) Perfume Bottle
If you've read this far, thank you! Stay posted for Part 2, coming soon! (I am also going to try to post some story relevant content soon rather than just worldbuilding)
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I'm pretty sure this was seven sentences? Could be wrong.
Ninma was short, even for a child of her age. She started to pace at the river's edge.
“Is it…deep?” The girl asked, flicking a pebble with her foot.
“Oh, so very deep,” Suru said with a slight smirk, standing at the deepest point, his torso almost entirely above the surface.
“Yes very, very deep, and you best look out for the foot crabs,” Otilia said with mock sincerity, her eyes twinkling as she wrung the water from her hair.
“What’s a foot crab?” Ninma said, taking a cautious step away from the water.
“Oh stop it, both of you,” Bira reprimanded with a click of her tongue as she stepped from the water and offered a hand to the princess.
Hello everyone! The winner of the latest character intro poll was Bop! As Bop is not a mortal their intro is going to be slightly different then most of the other introductions that I have done. The new poll should be up in the next few days!
This is also funnily enough an introduction to Narul's weapon.
(Please excuse any typos, its late and I'm sure I'll find them sooner or later)
Name: Pufut (Translated as "Bop")
Bop has long forgotten their actual name, if they had one at all as many spirits do not, in the past they were referred to as The Ripper of Cedars among other names.
Bop is a name given to the spirit by Narul, as Bop themselves were unsure of what their name actually was. Bop is a reference to the fact that Bop is contained within a hammer (Narul, unfortunately, does not have much experience naming things). To be more accurate, the name given to them by Narul is Pufut, an onomatopoetic Kishite word that refers to the sound of something being gently hit. Translated into English, the closest equivalent is Bop or perhaps Bonk.
Continues Below the Cut!
Family
Unknown
Before his capture Bop was in the company of several other powerful weather spirits, however it is not entirely clear whether they were related.
Homeland/Place of Origin
The Red Cedar Mountains
It seems likely that Bop, as a Great Spirit, formed in the region where they once held dominion. Their age is unclear, well he is certainly at least 2,000 years old, their age could be far far older, likely forming sometime after the Calamity in order to replace the spirits lost at that time, if that is the case then Bop may be over 40,000 years old (This would make him the 4th oldest entity to appear in person in the first book.) Many spirits have, comparatively fleeting memories, forgetting much of their past as the centuries roll past. Additionally being trapped in a hammer for centuries has caused Bop to forget much of their past. Alternatively they may have been brought to Kobani from one of the Spirit Worlds, likely via the will of the Storm God, Kotomah.
Great Spirits
Great Spirits or Mountain Gods are those spirits considered to be exceptionally powerful by humans. In some cases, they may be worshiped as minor deities or protectors of a certain region or geographical feature, often a mountain. Many cities have a Great Spirit which acts as its protector (though it should be noted these protections are against supernatural and climatic events, not political ones, a Mountain God does not care if a regime changes so long as they continue to receive offerings and respect). It is possible that the reason Labisa does not have its own Great Spirit despite being such a large city is that Bop would have filled that role had they not been trapped in the hammer.
Many Great Spirits may loosely serve or act in the name of a Heavenly God, often the patron god of a Kishite or Korithian city for example, based on the deity which the local Mountain God serves. Bop was connected with the storm god Kotomah. After capturing Bop, the Spiritblood Tamel, declared the Goddess Humbalibal, as the city's patron.
In many places across the Green Sea and beyond prayer is directed not at the Heavenly Gods directly, as it is believed that they are too distant and powerful to hear much less care, but rather to spirits which may act as conduits to the Heavenly Gods. In Kishetal it is typical to start a prayer first with a call to the spirits or through a ritual to attract the spirits that are believed to be connected to a certain deity.Â
Interestingly, the Deep Sun, as a demon, technically falls into the same categorization as Bop.
History: Two Excerpts From Kishite Literature
"When the first stones of the city of
Kings had not been lain
When the Golden Trout by wily Seha’s HandÂ
Was fresh within the net
When the first reed for floor was plucked
When the first branch for roof had been cut
When still wild folk roamed and ruled the cedar hills
When blood soaked still the walls of Kur
Tamel sent council and gift to the Children of
Arkodai for to bless his new kingdom
Gifts of copper, pelt, and sweet honey
Of cool wine and fiery gem
This gifts he sent in the hands of black-haired Uridush
Whose beauty mortal and spirit envy
The Arkodians took upon themselves the Gifts of Tamel
But when time came to bestow upon Uridush a Kingly
Gift, a gift of their blessed metals as they had gifted to
The Desert King and The Heirs of Neduz
They gave to him no spear, nor ax or sword or scepter
But only hammer and rope, crude and barbaric
Made by no master
No spirit dwelt within them
“Disgrace upon noble Tamel you Lay!” Cried brave Uridush
“He is a king unmatched, his beauty and grace without end
And yet upon him you give these meager gifts, which even
The most paltry of your noble men would hang their head
To carry! The Metal is unpolished, its surface crude!
There is no beauty! No mastery!”
When Uridush spoke forth in his master’s name
The Children of Arkodai fell upon him with pincers of bronzeÂ
And took his noble tongue from between his teeth
With mouth bloodied and silenced
 Uridush returned to just Tamel’s side and presentedÂ
These cruel and dishonorable gifts
Tamel cried out for his beloved servant and grieved his sweet words
With righteous justice a fire in his belly Tamel and his Three Sons
Hiru the Broad, Hutbari the Hoopoe Born, and Haman the Thrice Bled
Took to the Isle of Olives and in silent night fell upon the Arkodians
Their warriors they cut down and laid upon the cold stones
7 Sages they bound in ropes of hemp and bore awayÂ
“You have ripped us from our warm beds where do you take us?”
They cried as one in the tongue of the forge masters
But from the Masters of the Golden Plain and the Endless Lake
They received no answers nor were words spoken
No spirit dared come to their call, for they feared theÂ
Wrath of Tamel, whose eyes saw all deception
Across the Mumbling Sea to the Realm of the Cedar
With Hammer and Rope Tall Tamel and his sonsÂ
Brought their loot, through forest and up stony slopes
They conquered the Ice Wrapped Mount
Where the Lords of the Eastern Shores and the Towering Peaks
Dwelt in their Palace of Cloud and Shadow
Where Storm Unending Lashed Furiously UponÂ
Stone and Ice and Flesh
And hence with his rope of Western Metal
Great and Mighty Tamel the Golden Eyed
He of The Dragon Bane, He of the Fire of
Kur, He whose rivals live not amongst men
with his Three Sons, with the blessing of Humbalibal
Resting upon their heads
They cast forth into the Black Storm
Domain of the Great Spirits
Servants of the God of Winds
Five there were
 She who splits the Oak,
He who swallows the Sun
She who pulls down the River of the Heavens
He Whose Voice Shakes Mountains
And The Ripper of Cedars
Children of The Howling One all
“Take this, the gift of ignoble men! Catch it so
That from you I may make a kingdom
That will stand tall before the lands
Of my lesser kin!”
And upon the Ripper of Cedars his rope caught
The fury of the storm shook the Columns of Kobani
The Winds that Flatten Forest Roared
The Ice that Cuts Flesh Descended Upon Them
“Father!” His Sons Cried
“Father! Through Wool and Linen this SharpÂ
Wind Cuts!”
Youngest of Sons, Haman fell there
His Skin Pierced, His Hands Slickened by Blood
From the Mountain he was carried by cruel winds
And in the Green Valley He Fell
His flesh torn by stone and branch
His lifeblood stolen by bird and beast
But Grief could not take Tamel
And with the might of the Mountain Goddess
He tore down the Great Spirit from its perch
Down to dead stone he cast it
The mountain shook and cracked
And there under his order the Sages of Arkodai bound
The Ripper of the Cedars into the hammer which
The Arkodians had gifted to noble Uridush
So great was the fury of the spirit that all save for one ofÂ
The Seven Sages was consumed by lightless death
Before he too fell, Silver-eyed BanusosÂ
The Seventh Sage with eyes broken and ears torn
Fell upon his knees and presented to Tamel
The hammer, The hammer that shakes mountains
Greatest of Noble Arms
With gut of dragon and kiriki The King of the KishitesÂ
Bound its head and with the rope which had bound the spirit
 he wrapped its olive haft so that it may not slip in his mighty grasp
And He named it, Gate Breaker
For Before it, No Man nor City Could Stand ”
-From The Great History (Ti Jal Tiamut)
“Oh Noble Tamel
Oh Beautiful Tamel
Oh Glorious Tamel
Your Life Taken by Arkodian TreacheryÂ
By the cold Ocean Swallowed
Your Blood Swore upon Shebali’s Sand
An Oath Terrible and Dark
Bound By Spirit and Gods
That Arkodian Blood Should be Shed
Till Every Vein Was Run Dry
Till No Kings Sit Upon Stone Thrones
Till Arkodai Kingdom Be No MoreÂ
Than a Memory Faint
Till the Last Sages of Ancient FurnacesÂ
Draw breath no longer
7 Children Sailed 100,000 Men Beside to Arkodai Bound
Ladaru Vengeful and Great, Fell first, Pierced by Arrow Keen
By His own Blood Shot and Felled
Baza, Jealous Brother-Killer, Brought low by Vengeful Justice
Then Atab, Silent and Strong, Crushed by Serpent Vast
Sema, the Magnificent, Whose Chariot Flattened Cities
By wicked poison was Slain
Then Farutima and Mushadi, Wise and Merciful
By Ikopi Pirate and Arkodian Treachery were Cut
Twas Hiruha Cunning, the last of your Children to bear a crown
Who From Waters Cold and Cruel Bore You Up
 No Rot Victorious Nor Decay Enthroned Upon You
From Your Hand She Took Gate Breaker
Your Hammer Great and Powerful
Thirty Men they say, Thirty Men to Break your Grasp
With Hammer in Hand at Myminat’s Plain She Broke Mikrab
Who Knew You Once, Whose Madness Raged
He Fled and the Walls Shattered Before Him
Into the Terrible City She Rode
There Sages Wicked In Their Own Furnaces Burned
And With them All Knowledge of Western MetalÂ
Was Rendered to Ash and Bone Crumbled
But When Victorious Upon Her Ship
She Sailed Home Towards Great Labisa
To Her Father’s Throne
But Like Her Father Before
Swallowed by Sea was She
Lost to Darkness Blinding Darkness
Last Child of Tamel
Beloved Daughter Taken to Lives Unlived
Your Mighty Weapon Gone, by the abyss consumed
Your Name Sake Tamel the Victorious
Tamel the King Who Spared the Shepherd
And Crushed the Last Kings of Arkodai
Searched Dark Waters For Beloved Hiruha
But Found Naught but Whispering Waves
We Mourn Her We Cry Out To Gods We Pray
Hammer of Kings May You Return to Us
And May the Bones of Glorious HiruhaÂ
Rest Beside Her Family Eternally.”
-The Lament of Tamel and Hiruha
Appearance
As Bop is trapped within the hammer of Tamel, they are not immediately visible. The hammer itself is crudely made, its head is made from unpolished Arkodian Bronze, which is itself a dark brown colour, somewhat similar to oxidized iron. The head is additionally wrapped in a couple small lengths of ancient leathers (supposedly from a dragon and a kiriki), the haft (which has been replaced numerous times) is made from olive wood and is wrapped in a rope once made from a mixture of Arkodian Bronze fibre and plant material. The plant material has since rotted away leaving nothing only the metallic elements behind. To the untrained eye it is an unimpressive and largely undesirable tool, too large and heavy for a normal person to wield and certainly not aesthetically pleasing.
The only way to see Bop is to let them into your mind while holding the hammer. Not everyone can see Bop clearly, for example when Ninma holds the hammer, the spirit appears in her mind is little more than a silver cloud. However when Narul holds the hammer, and when Bop feels the need to manifest a form (rather than merely existing as a voice in Narul's head), Narul sees a constantly shifting figure seemingly made of solidified mist or cloud. Their traits are never static and over the course of just a few seconds they may change entirely. As a result Narul has difficulty describing the spirit to others.
Personality
Bop is a curious, wise and kindly being. As a result of being trapped in darkness for so long they cherish the chance to get to speak with Narul and to see through his eyes. They don't remember much about their old existence, however they don't seem particularly concerned about it either. Bop is vague, though not intentionally and tends to be far more interested in the needs and wants of others, primarily Narul, rather than their own. Bop is a very powerful spirit and can make this fact known when they want to.
Gender/Pronouns
Agender
Bop as a spirit does not experience normal human expressions of genders, what is more their constantly shifting nature means that they have very few static traits. As such Narul views Bop as having both Masculine and Feminine traits which themselves change regularly. The same could be said about Bop's age as the spirit may at once express traits which are constituent with older humans and those consistent with children. They are not limited to human traits either and may at times exhibit animalistic elements.
Sexual Orientation
Asexual and Aromantic
The majority of spirits, though not all, do not feel sexual attraction of any sort nor are most capable or interested in the concept of romantic love. However Bop is capable of very profound platonic love, as this is their relationship with Narul
Relationships
Bop doesn't remember much about their past friends/acquaintances including his past wielders. This includes Tamel, despite the fact that Tamel wielded their hammer for nearly 500 years, Bop has next to no memory about the Great King. Similarly they have no memory of Hiruha, though this may be because Hiruha seemingly was unable to properly communicate with spirit.
Bop is very close with Narul, protecting him from nightmares as well as the machinations of the Deep Sun. As Narul is almost always holding the hammer, the two are almost constant companions.
The relationship between Narul and Bop is very deep, bordering on being queerplatonic.
Largely through Narul, Bop has also come to care deeply for the other members of the group, most notably with Ninma and Otilia. Bop speaks to both regularly. This is done by Narul giving them the hammer to hold.
Favourite Colour
Blue
Favourite Food
Bop does not eat and likely cannot taste (though some spirits can smell), however they do experience some of the happy sensations that Narul feels when eating or smelling a food that he likes. As a result Bop is most fond of the foods that Narul likes.
Biggest Fear
That their hammer may get lost in darkness again with them in it.
Sage
No
Bop is capable of true magic beyond sagecraft. However their use of magic is severely limited by their current condition, as such most of the magic they are able to work is seen by how they affect Narul (healing, increasing his strength, etc.)