However, the most disruptive influence on Muriseayan life is the island’s ambivalent relationship with the combatant powers. Both of these have immense military bases on Muriseay, established illegally and by force and occupied in resistance to all political attempts to have them removed. The large, heavily fortified camps are used for training, planning, interrogation and R&R. Because the camps are situated at opposite ends of the island they rarely come into contact or conflict with each other. Both bases employ local people, so their presence has a positive influence on the economy of the island. As well as having the military camps in place, Muriseay is also an invariable port of call for the many troopships passing through the Midway Sea, heading to or from the battle zones of Sudmaieure. These frequent visits have a disruptive effect on lives in the ports, adding to the social problems already in existence, but also bringing a source of income to many inhabitants.
However, for all the industrial and social complexities Muriseay is one of the most physically beautiful islands of all. The central massif has snow-capped mountains for most of the year, and its deep gorges, rivers, rock-faces and alpine pastures are a source of pleasure for inhabitants and visitors alike. Because of the island’s proximity to the equator, and its adjacency to the strongest tidal flow in the Midway Sea, Muriseay has many beaches that are an irresistible attraction for pleasure-seekers, from quiet beaches suitable for young families, to the famous Wookat Beach, where the extreme sport of rock-surfing is carried out all year round.
Muriseay Town itself is in the south-western corner of the island, situated in a broad bay which is the outlet for two of the island’s largest rivers. It is surrounded by tropical forest, of such complexity and denseness that beyond the limits of urbanization much of it remains unexplored, even in the present day. It is known or thought that the Muriseayan rainforest was the cradle of life for many hundreds of different species now found dispersed throughout the islands. No thryme colonies have ever been found on Muriseay. Parts of the forest are open to visitors in a range of sensitively designed and managed visitor and camping complexes, while the wilder and more remote regions are accessible to hardy bush-walkers. The forest extends over most of the southern half of the island and remains undamaged for most of its extent. There are rumours of ‘lost tribes’ still eking out a primeval existence somewhere in the deepest parts of the forest, but all evidence for this is anecdotal and scientific surveys have so far discovered nothing. The Muriseayan Council has for many years resisted attempts to commercialize the forest or to exploit areas of it for timber.
The forest is ringed, but not traversed, by modern highways and railroads.
Perhaps the greatest influence Muriseay has on the rest of the Archipelago is its heritage of arts. Almost every great composer, artist, writer or actor in the world was either born on Muriseay or studied there at some time, or at least has reflected Muriseayan influence in his or her work. Much of the island’s great wealth has been poured into support of the arts — every Muriseayan city has a major opera house or concert hall, while Muriseay Town has two of each, endlessly in competition with each other. Galleries, theatres, museums, workshops, studios, libraries abound. Large artistic communities continue to thrive in all parts of Muriseay — there is an unusual arrangement in that no recognized artist resident on Muriseay is expected to pay tax, but contributes to the economy on a tithe basis, enriching galleries and public buildings with an ever-expanding variety of books, paintings, sculptures and musical compositions.
Of course, artists being of essence temperamental, there are those who have rebelled against the Muriseayan artistic hegemony, or were never accepted into it.
Of the writers, perhaps the must notable and luminous exile was the great Piqayean novelist Chaster Kammeston. He not only never visited Muriseay but actively disdained its influence, would not allow Muriseayan artwork anywhere near his house and never received nor of course ever applied for any Muriseayan grant aid. When awarded the highest literary accolade in the world, the Inclair Laureateship for Literature, Kammeston accepted, but on discovering that the ceremony was traditionally held on Muriseay he belatedly attempted to decline the prize. Such was his standing that the Laureateship Committee decided exceptionally to make the award on the author’s home island. The entire committee plus an attendant horde of publishing and media people travelled at their own great inconvenience to Piqay. Kammeston did then rise magnanimously to the occasion, accepted the Laureateship humbly and thankfully, and made a gracious acceptance speech in which he praised a number of his fellow authors.
The mime artist, Commis, refused for years to take his performance to the island. He never gave any reason. It is thought that his short Muriseayan season of live performances was booked either in error or against his wishes by his agent. The agent died in mysterious circumstances shortly afterwards, and Commis himself was murdered before he could reach Muriseay to fulfil the contract. Because of the unusual nature of his murder, it was cynically rumoured at the time that he had staged or falsified his own death to break the contract, but this is an outrageous suggestion. It remains none the less that his work is unknown on the major island except, ironically, by word of mouth.
Rascar Acizzone, the tactilist master, was a native of Muriseay, but he was sent into permanent exile after a period of imprisonment. Although his work is still officially disapproved, the museums and galleries in Muriseay Town do have examples of his extraordinary paintings in closed case, for examination solely by academics, historians and genuine students.
A similar exception to the rule was the landscape painter and portraitist Dryd Bathurst. He was permanently barred from entering Muriseay after some incident during a visit in his youth. It appears that there was a policier or probation element to this ban, not an artistic one, because his work hangs prominently in several galleries on the island. And Jordenn Yo, the earthmoving installation artist, tried several times to enter Muriseay but was refused entry every time.
However, these people are the exceptions and the Muriseayan artistic influence remains the most important in the world. Visitors intending to take advantage of this immense heritage should plan an extended stay on the island, or make repeated visits so they might fully appreciate the huge range of material the island has to show.
Currency: all accepted in Muriseay Town; elsewhere the Archipelagian simoleon, Muriseayan thaler and Aubracian talent may be used at commercial rates. Forces’ paper money is also accepted in the port areas of the big coastal cities.
Nelquay
SLOW TIDE
A small, obscure and largely unvisited island, NELQUAY is situated in the cool northern latitudes, part of the Torqui chain of islands. The economy is agrarian peasant, although a speculative construction project is under way to build a marina, hotel and casino complex.