The Kingdom Written in Sand and Time Part Two
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- Book: The Kingdom Written in Sand and Time Part Two
- Paperback: 314 pages
- Publisher: Gradias Publishing House
- Language: English
- ISBN-13: 978-81-996162-2-6
- Product Dimensions: 22 x 14 x 3 cm
When the Past Refuses to Stay Buried
Some histories disappear because nobody remembers them. Others disappear because remembering them would force the present to confront what it has inherited.
The Kingdom Written in Sand and Time Part Two belongs to the second kind.
The world established in the first part expands here into something far more complicated: a story of fractured timelines, forbidden wishes, ancient powers, inherited consequences, and characters whose very existence becomes evidence that history has gone wrong.
This is not a fantasy in which magic conveniently solves impossible problems.
Here, magic creates debts.
And eventually, someone has to pay them.
At the heart of the story stands an ancient idol, Būt-e-Aswa, whose power can make wishes real. But every wish comes with consequences that extend beyond the person who makes it. Time itself can be disturbed. Bloodlines can change. Histories can shift. Futures can disappear.
The question is therefore no longer whether the past can be changed.
It is whether anyone has the right to change it.
The Idol Beneath Alabaar
The mysterious Būt-e-Aswa is unlike a conventional magical artifact.
Its power does not lie in granting miracles without consequence. Instead, every fulfilled desire carries a cost that is paid through time.
The idol can only be awakened with the Khanjar-e-Shamsi, a legendary blade capable of transforming desire into an alteration of history.
Long before the events of the present, someone made the first wish.
The consequences were not understood.
Generations later, the damage has become impossible to contain.
The past has not remained in the past.
It has reached into the lives of people who were not even born when the original decision was made.
And that is where the story's central group enters.
Seven People Who Were Never Supposed to Exist
The seven central figures are not conventional chosen ones.
They are ordinary-looking people living in the twenty-first century who gradually discover something terrifying about their own existence.
They should never have been born.
Their lives are unintended consequences of an ancient wish.
Their existence is therefore not simply connected to history—it is evidence that history itself has been altered.
Their lives change completely when Shahwār, a six-legged stallion capable of crossing eras, pulls them from their own time and carries them into the period where the original mistake occurred.
They do not travel into the past to conquer it.
They do not arrive as legendary saviors.
They arrive because they are part of the damage.
If the fracture in time is repaired, their own existence may be erased.
For them, correcting history means accepting the possibility that they will disappear from it.
Alabaar: A Kingdom Already Breaking From Within
The ancient city of Alabaar becomes the story's central setting.
It is not portrayed as an idealized mythical kingdom. Its streets and palaces are burdened by ritual, fear, political pressure, and historical debt.
Deep beneath the city lies the chamber where Būt-e-Aswa is held.
The idol is not simply asleep.
It is being restrained.
The survival of Alabaar has depended on sacrifices made across generations, although the people living there no longer fully understand the origin of those sacrifices.
At the center of this collapsing system stands Princess Alayna.
Her concern is not conquest or legendary glory.
She is trying to prevent her city from destroying itself.
But seven strangers from a future shaped by Alabaar's past are approaching, carrying information that could fundamentally alter the fate of the city.
Alayna must confront an impossible choice.
Should she preserve a damaged system because it is the only thing holding her kingdom together?
Or should she allow history to correct itself, knowing that correction may destroy everything she has sworn to protect?
The Dōzhakh Riders
The second part introduces another important force into this already unstable world: the dōzakhi riders.
These warriors possess the ability to travel through time by passing through storms of the unseen.
They are neither conventional angels nor demons.
Their role is closer to guardians of forbidden history—beings whose existence is connected to the principle that certain events must not be altered.
Among them stand Shah Alam and Aaghaazir, figures whose loyalties are difficult to predict.
They can be rivals, warriors, rebels, and kings in different circumstances.
Their world operates according to one unforgiving principle:
Time is not merely a path. It is an agreement.
Once that agreement is broken, consequences follow.
The conflict between the seven time-displaced protagonists and these riders therefore becomes more than a series of action sequences.
Each confrontation carries a larger question.
Who decides which version of history deserves to survive?
When the Past Meets the Present
One of the story's most striking narrative devices emerges when the seven eventually return to their own era.
They discover something deeply disturbing.
They are already there.
The people they once were are living through the very events that the older versions of themselves remember surviving.
Two versions of the same individuals now occupy the same historical moment.
But intervention is dangerous.
The younger versions must live through events as they originally happened.
The older versions must resist the temptation to save them.
The timeline depends upon both groups fulfilling their roles.
This creates a circular structure in which cause and consequence become difficult to separate.
The characters are not merely travelling through history.
They are encountering themselves as part of the history they once believed they had already escaped.
The story therefore turns time travel into a moral problem rather than merely a technological or magical mechanism.
Sometimes preserving the future requires refusing to interfere with your own past.
The Women at the Center of the Story
Although warriors, rulers, supernatural beings, and time travellers dominate the larger conflict, several of the story's most important emotional and strategic decisions come from its female characters.
Ghazal
Ghazal emerges as a strategist whose greatest strength is not simply physical ability. Her understanding of people, emotions, and consequences allows her to recognize dangers that others overlook.
Her decisions affect the stability of timelines, while her emotional attachment to those around her gives the larger conflict a deeply personal dimension.
Manaal
Fearless and sharp-minded, Manaal combines physical strength with fierce loyalty.
Her presence is especially significant during the story's battles, where determination becomes as important as technique.
Elma
Elma brings a very different energy.
Impulsive, unpredictable, humorous, and dangerous, she operates largely through instinct.
Her personality also creates some of the story's most memorable action moments.
Princess Alayna
Alayna carries the burden of political inheritance.
She is both a ruler and a person forced to make decisions whose consequences extend far beyond her own life.
Her conflict lies between preserving the legacy she inherited and listening to her conscience.
Together, these women give the story a version of power that is neither decorative nor secondary.
They influence events.
They make decisions.
And the consequences of those decisions reshape the larger narrative.
When the Battle Is Over
The climax brings the various strands of the story together.
Caves collapse.
Chambers flood.
Weapons clash.
The ancient order surrounding Būt-e-Aswa begins to break apart.
As the idol's power unravels, so do some of the consequences created by the original wishes.
Certain legacies disappear.
Some curses lose their hold.
Some magical beings choose their own end.
And certain futures survive precisely because the past is finally left untouched.
Among the most significant moments is the fate of Shahwār.
The stallion exists beyond ordinary time, and when its counterpart in the past dies, the surviving Shahwār ultimately dissolves into the air.
Its disappearance is not simply a death in battle.
It becomes an act of surrender to the balance of history.
A Different Approach to Time Travel
One of the defining features of the story is the way it treats time travel.
Rather than presenting it primarily as a technological puzzle, the narrative connects it to myth, spirituality, responsibility, and consequence.
The characters are not travelling through time simply to explore history.
They are forced to confront the moral consequences of changing it.
That distinction matters.
If the past can be corrected, should it be?
If changing one tragedy creates another, where does responsibility end?
And if someone's existence depends on a historical mistake, does correcting that mistake make their life meaningless?
The story leaves these questions embedded within its fantasy structure.
What Survives When Destiny Changes?
The Kingdom Written in Sand and Time Part Two ultimately moves away from the traditional fantasy idea that victory means defeating an enemy and changing the world.
Its characters reach the end of their journey exhausted rather than triumphant.
They have fought, sacrificed, lost people, confronted their own past, and witnessed the consequences of interfering with history.
What they ultimately protect is not an empire.
Not a magical artifact.
Not a perfect future.
It is something much smaller and more human:
the right of the future to exist without being rewritten by those who came before it.
That gives the second part a different emotional direction from a conventional heroic fantasy.
The past is not necessarily something that must be repaired.
Sometimes it is something that must be understood.
Sometimes the damage cannot be undone without creating greater damage.
And sometimes the only way forward is to stop trying to control what has already happened.
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