Place 2 is the Willow Observatory, inspired loosely by the real-world astronomical observatories at Edinburgh, Royal Observatory Edinburgh (which is some distance from the city itself) and Calton Hill Observatory, which is right in the city centre, and the consequent long tradition of watching the night sky from there. While some of that tradition was used to inspire what happens at Willow Observatory (including the annual summer activity of looking-out for dragon ghosts in the all-night-twilit northern sky; you'll have more luck trying a search for "noctilucent clouds", should you wish to learn more before the PDF and text files are available), the setting is purely Embra, as the misty marshes and woods nearby would scarcely seem conducive to dedicated sky-watching if anywhere else. And who knows what you might see on the planets of the Nibirum Solar System using one or other of the great magical telescopes here:

Building interiors:

And the upper interior floor for the Gatehouse:

Plus there are oddities nearby, all of which receive at least some discussion in the accompanying notes.

However, the sixth built Place is one more suited to indoor musical performances without such adaptations, Spring Festival Hall:

The bright green roof tiles are all made in the shapes of unfurling, fresh, spring leaves, to contrast with the walls and ceilings of the Hall, that bear relief-carved autumnal foliage instead (Embra; what else would one expect by this stage?).

Inside, only the layout plan for the surface-level is provided. Most of the towers have higher, and lower, floors too, which are not illustrated, and which also like to change at times, as the accompanying written notes indicate:

Folding doors allow performances to be enjoyed outdoors on The Plaza or in The Garden, while the Mobile Stage can be raised or lowered to allow more seating in the Grand Auditorium. Despite its odd shape, the internal acoustics are excellent. If you want to perform here - and have the skill to do so - it might help to have befriended some of the musicians from Glass Harmonica Way first (see the Watery Places Streets map). Plus of course, any excuse to use some more of Sue's wonderful red sandstone cliffs!

Constructed Places map 1 is that for the ruler's Crepuscular Palace at Embra. Well, I say "ruler", but she's actually more the physical embodiment of Embra made magically real and living, The Verdant Sorceress, who flies on wings made of summer flowers. Something like the Archfey of D&D, though really more like the deity of/being who is Embra in power and abilities here. The name and flower-wings came from random rolls using tables in A Wanderer's Guide to the Feywild, by Heavenly Spoon, available on the DM's Guild download site (Pay-What-You-Want). The rest is more "me", however. I'd added some details to the PDF and text files for the Crepuscular Palace map before I realised it would be feasible to provide a CA3 drawing of the Sorceress for the Atlas as well, something that needed quite a bit of late revision of both texts and the Palace map. Although there wasn't space to add the full CA3 drawing to the Palace one, I did want to add a suitable link-spot by it. So this is the final Palace map:

And this is the lady herself:

Of course, this is only how she appears in her Elf-like humanoid form, when out and about meeting people, and not trying to terrify visitors unnecessarily. She could seem equally to be anyone else in Embra, or anything at the city - such as a flower, a shrub, a tree, a building, a pond, a floral meadow, a path, a hill, a forest, a cloud, a rainbow, colours in a cloud, the River Clack, or a blade of grass. In a real sense, she IS Embra, in all its aspects, positive and negative. (Oh, and this means the final tally of Embra drawings for the Atlas is now 58, not 57...)

Those who've been following this lengthy series of posts regarding my Embra mapping closely may recall the Palace Heights map among the Hilly Places, and spot the resemblance to this Crepuscular Palace one. That would be scarcely surprising, as they're the same place, here with the Palace a living, still fully extant, building, rather than grassed-over ruins. With an interior:

However, the interior is shown only for the ground level. The upper storeys - which all the towers, walls and great central dome have - are left for GMs to determine, if required, as the elements in it change from time to time.

Next is the Keyneck Museum, full of wondrous artefacts gathered from across Nibirum and beyond, with displays that change from one visit to the next, although there seems nowhere here to store whatever isn't currently on show. Key Beck might intrigue visitors as well. The water flows in along the west side of the channel from the southwest, round the circuit of the Museum, and then out again down the east side of the channel. Narrow, isn't it? And maybe the name relates to the layout of the Museum buildings in relation to that channel. Possibly.

Last of the individual sites is the Twilight Market setting for this group of Places, Candlelight Hall. The Hall has a huge, pale-blue, glass-tiled roof over much of it, and while that was straightforward enough to draw - CD3 tiled roof shaded polygon with added Sheet Transparency Effect - the support structure took rather more thought and effort, albeit "Trim To Entity" does work wonders in cases like this, for all those roof beams. The view complete:

Even this view indicates the interior had to be quite heavily detailed while the roof was left in place, and for once it was prepared normally with fills and symbols, not just the cream-and-green plan sketches all the other Embra interiors have received. The "normal" image above does allow the focus to be a little more on the scatter of other stalls and tents outside the Hall itself, before plunging inside. And so to that interior:

Peering closely suggests there are a lot of windows piercing the walls, all narrow, high, point-topped, and painted with a great assortment of subjects and scenes, which with the huge see-through roof area, means that at twilight or in the dark, the lights from inside shine out like a beacon from here, partly hence the name. And just in case you couldn't guess, Smokin' Mona's is THE restaurant for this part of the Market.

Comparing the two views here, one other element becomes clear. The internal labelling can be turned on or off separately to the other map labels this time. If all goes to plan, that should be via toggles in the Atlas' FCW version.

The idea with the Symbols Along command is to set up symbols along the line you've drawn at equidistant intervals from one another (though this can be varied if required).

However, the Distance part of the command works from the symbol's origin point (that's where you'll see the cursor crosshairs meet when you pick up the symbol from the catalogue to first place it). This isn't always where you might expect it to be, and it may be that whatever symbols you're using are creating problems thanks to this facet. Without seeing exactly what you're trying to do, it's a bit tricky to advise more precisely than this.

The transparent space around the symbol is just that - emptiness. However, the amount of such space in and around the symbol may affect where precisely the origin point falls, so it can have an influence.

One possibility would be to set the Symbols Along line up with the symbols at or around that "too far" limit you mentioned, and then fill in the gaps with other symbols by-hand afterwards. You can always adjust the size of the symbols to fit whatever gaps there are, if they don't quite look right, or add some that aren't quite on the line to fill satisfactorily. More work, I know, but perhaps giving a better end result, especially if you want the palisade to look a little "lived in", where not every pole has been positioned perfectly, or cut from the same size tree.

It's fair to say that with commands like this, and also many of the Sheet Effects as a different example, it's often a question to trial and error - make a few tweaks, and then try again. You might want to set up a series of trial lines, and see which looks better, for instance. If you're like me, you might want to jot down exactly what you did each time though, so you don't forget what happened the one time it looked right ?

If you're still struggling, post an image or two here to highlight what's going wrong, and I'm sure someone will be able to assist you further.

The third Constructed Place is the Abershell Camera Obscura, set in an apparently unlikely open zone, more suited to an observatory, one might think:

As ever, despite the random selection of base-maps for this series of drawings, the choice of what went where was solely my own, all of which decisions were made with the aim of providing additional puzzles for anyone trying to explore the city, when working to ordinary (i.e. non-Faerie) norms.

There are just two actual buildings here; the rest are open domes over the paths. Oh, and for those who might be interested, the Shelly Tearooms are famous for their exquisite range of ice-creams:

While the Camera shows views of the surrounding scene from its darkened inner chamber, as might be expected, under the care of the featured text's magically-skilled Water Faerie operator, it can show many other things and places too. And when you step out the door, that might be where you'll be. Only if the scene changes, the Camera building won't be there to take you back...

Go to CC3+, find the drop-down menu "Tools" in the bar along the top of the window, and then go to the "Add Ons" label in that drop-down. That will show you everything you have currently installed, and you can click on any one of those names to access each individual item's description in an HTML file.

Yes please to the Elf, Dwarf, Halfling and Orc structures, plus ruins, ships, icy elements, a volcano-mountain, variant settlement features (including for different cultures)! And after those, also perhaps:

• Magical site markers
• Battlefield marker, and a more general flag-style marker, to highlight important sites that don't fit to specific structure types.
• Oasis symbols for the deserts.
• Two more bridges at different angles to the current one - one running straight down the page, the other angled down from top left to lower right.
• I really like the Henge and Tomb hill markers, as they look good on any terrain. Another such marker with a cave mouth would be very useful.
• Some Mountain Peak symbols without the snowy tops (so grey mountains, just no white caps).
• Seeing the animal and creature comments, just the actual creature without any associated terrain would be better, as usable anywhere. Snag is, going down this route is liable to lead to requests for a lot more "resources" style markers - domesticated creatures and crops, minerals, etc.
• Some jungle-style trees, perhaps including mangroves, as well as the fruit trees Monsen mentioned.

I'll probably think of others later, but these are what're coming to mind right away. It's a wonderful style, and it would be excellent to see it expanded as far as possible in future, I think.

And thank you very much for creating it!

There's an obvious couple of problems here. One is there isn't a great enough diversity of symbols to cover even the fairly small range of non-settlement features that might be useful, and which only an expansion of the style (either by PF or personally) would solve. [There is a further issue here too, in that none of the location symbols actually work to the standard snap grids used in this Annual. I'm not sure if that may have been amended since I downloaded my copy, however. I ended up having to place most by eye alone, certainly.]

The other is that anything placed in a coastal hex looks as if it's really in the sea, because that's just how hex maps of this sort work. That though is something I could resolve. Plus as I'd been randomly rolling terrain up, I'd noticed there was no "Hills" option in the current ShadowDark tables, so decided to tweak that a little to include some.

So the maps, and additional keyed terrains, came to look like this:

All I did for the coasts was add a small section of land from each adjacent hex over the coastal sea.