Diamond Pantheon

I put on a thick glove and try to pull out some of the diodes for later studies. I also memorize the basic pattern, and make note of any changes that occur in the lighting.

Preferably before Thrash arrives to pull me out. Though I will also note changes of lighting that occur when it is pulled open.

The fungus does not react when you pull out diodes, nor when Thrash damages cables and wires in his rending. The synthesized parts seem to be utilized by the plant but not vital.

Before too long, the thing is growing closed again, repairing the damage. The strange parts, too, heal organically.

In my new favorite lizard form, I'm going to clamber underneath the catwalks around that cloud of steam. Then I'm going to launch myself through it in exploration.

I am off ta check th' wasteland for catlike prints in th' ash.

Within the steam, Thrash finds a freezing and re-freezing waterfall. Behind the waterfall is a shrine with a golden roof, where drops of the malleable metal dribble down only to solidify in new patterns. The rest of the small temple is worked in stone. Behind and around the shrine, majestically-crested herons with bladelike beaks of steel wade in the broiling waters, spearing sparkling fish. The birds seem to fade slowly into the water and emerge in new locations to renew the hunt.

Durin finds no catlike prints in the ash, but he does find the taloned marks of a bigger, four-legged predator.

In lordly humanoid form, I enter the shrine. If anyone who looks like they own it appears, I will immediately drop to one knee. Otherwise I will explore.

Great Thrash bows low as he enters a Shrine to the Steepest Norns.


Flooding water has been made part of the temple's design. The strange cranes drift here and there, stepping sometimes from the shallow water to the slightly elevated marble footpaths, patterned in grey and black with streaks of red. Motifs of hyperweft and gems dominate the architecture; a mechanical spinning wheel and endless pile of wool steams in one corner.

Central to the scene is a finely worked crystal tree. It is only 20 feet tall and a foot in diameter, but the artist has preserved an excellent sense of scale proportionate to an ancient redwood or ash, wrapped in tough partitions of crystal bark. Years of marring, represented by the crafter, tell the stories of millenia, preserved in adamas that cannot be damaged, only worked. Rare gems have been raked and swirled in enticing textures beneath the treebed.

Beams of laserlight fly from steely seedlings, each leaning in to produce a different color as muffled blasts from the shattered volcano make the temple tremble faintly. When each beam of light hits a crystal branch, it produces a single clear note, varied color mixtures and branch areas corresponding to unique notes. One cannot imagine the elegant music of a vibration in four dimensions until one hears it, and those who learn to play the Steep music of the Photocambic Shrine become enlightened.

I will walk up th' hill with th' chickies, warding off any lightnin' with my Gauntlet.

When you enter the secretive cover of the clouds, blinded by flash after flash of lightning, you are forced to dodge enormous rolling boulders, seemingly steering themselves.

Continuing on up the hill, you come upon a pueblo village. Gigantic figures cross here and there, some carrying sacks full of goods, others performing small tasks. The giants feed the chickens, dress hogs for bacon, and milk huge yaks. The giants tower over even the biggest beast, but show a great deal of grace when working with these disproportionate livestock.

Giants, with handsome faces and wild hair, don't seem to notice the dwarf in their midst. Durin never hears them speak. With continued surveillance, Durin realizes this giants can communicate only with the furious storm clouds which always guard the city.

If Durin makes his presence known, the Giants are at first excited, then disappointed about something. They seem to be waiting for something or expecting to receive something.