Eder Kemo was written during the 8100’s as a public Garden Age. The High Lords at the time commissioned many such Ages, and the period later came to be labeled “the Garden Age Craze”. Eder Kemo was apparently written concurrently to Eder Gira, as the two seem to function symbolically as sister Ages. Eder Kemo was later replaced with a different Age.
Little is known of the Age beyond the teardrop-shaped valley it fills. It is surrounded by sculpted cliffs1, and several natural rock formations rise from the valley floor. Black arthropods hang from the cliff edges and keep the walls clean of mosses and lichens2. The valley itself varies in width from a mere path between the walls to glens about 100 yards across, and slopes gradually downhill in a 1/4 mile loop from the Link-in site to a chamber located immediately below that spot. Local weather conditions change quickly, and gazebos provide shelter from the regular rain showers that pass through the area.
The author of Eder Kemo evidently had an incredibly artistic persuasion, as every detail is crafted to provide a uniquely beautiful and relaxing atmosphere. The garden is divided into four main sections, each based on a particular planting scheme.
An immense rock monolith surrounded by shade trees dominates the first segment3. A fountain sits in a plaza at the upper end of the cleft. From there a flagstone path winds down through a lawn of moss and flowers, past stands of ornamental bamboo, and through a short tunnel into the second area.
The second part of the gardens is home to a group of organisms called trooms that seem to defy immediate classification. A bulbous mass of pink tissue sits atop a woody stem. Four blue tendrils hang from the underside of the ball that sway and moan in the wind. It is unclear whether they are plants, fungi, or sedentary animals, as the “trees” seem to bear similarities to all three kingdoms4. The grove is inhabited by a swarm of curious glowing insects.
A flight of stairs leads down into the third segment of the garden. It is home to a thicket of pear-shaped shrubs that regularly puff clouds of spores into the breeze.
Finally, a broad tunnel leads to the last portion of the cleft. Lying immediately below the Link-in site, it is a deep hollow that has been turned into a pond. The path continues across it as stepping-stones to a Book Chamber. Rushes line its banks and lilies dot its surface. The pond is home to an ornamental species of fish from which the Age gets its name.
Culture / Additional Notes
Peculiar to Eder Kemo are the petroglyphs scattered across its walls. The crude style is seemingly out of place amongst the extravagant architecture and landscaping, and there is some debate regarding their origin. The subjects of the paintings are varied; everything from abstract shapes to historical events and vignettes of other Ages are pictured5. Possibly related to these strange drawings are the events involving DRC researcher Phil Henderson, his disappearance during initial explorations of the Age, and the subsequent controversy surrounding his return.
1 Whether by natural or artificial means isn’t apparent.
2 Some have suggested that the arthropods (called Keanulints by early explorers) are a local delicacy, particularly when grilled, but the author has yet to be convinced.
3 Which incidentally are great for climbing and falling out of.
4 The overall impression is rather like a large brain stuck on a toothpick with a pair of jump ropes stuck to the bottom.
5 One theory relates the petroglyphs to Yeesha, the daughter of Atrus and Catherine. The historical drawings picture the story of King Shomat, and many of the other pictures can be identified with Ages she was particularly interested in. Why she would graffiti Eder Kemo in this way is unknown. Others have suggested the petroglyphs are the work of a mysterious race known as the Bahro. Little is known of them beyond hints and riddles in old texts and the works of Yeesha.