Po-Metru was home of the carvers in Metru Nui. Unlike the other districts of the city, Po-Metru was largely a wild and barren place, dotted with mountains and canyons. Po-Matoran labored outdoors, assembling goods and carving great statues. Po-Metru contained the Sculpture Fields, the Fields of Construction, assemblers' villages, the Prison of the Dark Hunters [sic], and protodermis warehouses.3
Notes
Toa Onewa was the protector of Po-Metru, home of the carvers. Using his proto pitons, the Toa of Stone guarded the Sculpture Fields and other important Po-Metru sites.4
Po-Metru was the most creative place in all Metru Nui. It was the home of artisans and designers.5
In one Ta-Metru forge, construction tools and other equipment were cast from molten protodermis and then sent on to Po-Metru for finishing.6
Po-Metru was the home of artists and crafters. Here, masks, tools, and other goods were sent to receive decorative carvings. Po-Metru Matoran were also responsible for all the statues, large and small, seen around Metru Nui. Working in the Sculpture Fields, they carved statues from huge blocks of raw protodermis.7
Po-Metru was known for its wide, flat expanses where massive sculptures were carved and stored.8
Walking into Po-Metru was like entering another world. Instead of the tall buildings that marked Ko-Metru and Ta-Metru, one saw a ridge of mountains. Instead of roads, one found well-worn pathways of dirt and stone. Rather than spending their work time indoors, most Po-Matoran labored all day in the light of the suns. Only the presence of chutes and the sight of airships in the sky served as reminders that one was still in Metru Nui. Po-Metru was the home of the carvers. Here items made in Ta-Metru were engraved and decorated, larger creations were assembled, and great statues were chiseled from blocks of solid protodermis. Po-Matoran were the most talented craftworkers in all the city.9
Settlements called assemblers' villages could be found all over Po-Metru.10
Matoran masks forged in Ta-Metru were sent to Po-Metru for finishing and distribution. All goods made in Ta-Metru other than Kanohi masks were shipped to Po-Metru, where carvers and other workers readied them for use.11
Solid protodermis blocks and tools were transported to Po-Metru via airship.12
Rock Raptors were among the more dangerous of Po-Metru Rahi.13
Sparse vegetation grew in the rocks of Po-Metru, which offered grazing for fader bulls.14 Kane-Ra also fed on this scant vegetation, although there was not enough to support large herds.15
Kane-Ra took shelter in caves at night.15
During the Visorak invasion, some Kikanalo remained on the northern plains of Po-Metru.16
Near the Po-Metru Sculpture Fields were barren wastelands, which contained canyons and were inhabited by Nui-Jaga.17
Rock raptors were found around the Sculpture Fields and were one of the main predators in Po-Metru.18
Small bands of spiny stone apes could be found hiding among the towering protodermis structures deep in the wilds of Po-Metru.19
Sand Tarakava lived in the sandy wastes of Po-Metru.20
Po-Metru had high peaks were Pokawi lived.21, 22
Po-Metru was the district least damaged by the quake during the Great Cataclysm. It consisted of mountains and great, barren plains. When the Matoran returned to Metru Nui, many of them took up residence in Po-Metru while their own metru were being repaired.23
Po-Metru was a wild, barren place dotted with mountains and canyons. It was home to talented Matoran stone carvers. The Matoran of Po-Metru lived in caves and assemblers' villages. They were known for the huge statues they carved from slabs of rock and their skill at assembling goods.24
Solid blocks of protodermis were shipped from Onu-Metru to Po-Metru for carving.25
As of story year 2008, Po-Metru had barren plains and mountains.26
Po-Metru was where all carving and statuary was done in Metru Nui.27
There were some mountains in Po-Metru, but otherwise Metru Nui was mostly buildings.28