#Persian Scimitar

[kultofathena]

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✨KOA Exclusive – Persian Shamshir / Scimitar✨

🗡️Back by popular demand! Kult of Athena has a limited stock available of this classic Windlass sword which we commissioned Windlass to produce for us in a special production run🗡️

The Persian Shamshir is a recreation of this iconic sword of the Middle East – this saber is not only light and nimble, but the curved blade is optimized for decisively deep cutting and quick slashes and in skilled hands the sword is a surprisingly capable piercing weapon which can strike its target at unpredictable angles. The hilt has a comfortable grip of well-polished wood with an enlarged pommel which neatly couches against the back of the hand for a sure grip. The crossguard is made from metal with an antiqued silvered finish and the blade tang is dual-riveted into the grip for a solid overall construction.

[archangelsteel]

Christian changed our scimitar design this year. Let us know if you like it. :) https://www.archangelsteel.com/swords/scimitar

[stepmarchen]

okay i know that you said you're not the greatest history buff, but i realy wanted to know your take on the Safavid kingdom as a representation of a middle eastern community..? if you've read enough manhwas you probably have seen some stupid stereotypes and it realy sucks. god i feel like i'm bothering you asking this i mean we don't know much about safavid .. you don't have to answer this :D

of course! i'll try my best to speak about it! the floor is also open to anyone who has their own additions!

So. We all know that ASM borrows inspiration from existing territories and conflict from the 1700s all the way up to the late 1800s, right? Well get ready for this.

If we use this same research model, we'll come to find that the Safavid Dynasty also existed in Iran back in the 16th century. Which means we have a direct reference point we can compare the (manhwa) Safavid Kingdom to! (just remember to take it with a few grains of salt. We're dealing with 400+ years of history here!)

In my humble opinion (as someone who isn't part of the middle-eastern community btw), I feel like ASM does a pretty fair job at representing the middle east via Safavid/Pasha Family. The biggest hurdle just comes from the fact we haven't seen much of them yet.

The first thing I noticed was the architecture. During Halima's trip back home to Safavid we get to see ORKA's depiction of the Kingdom. As you can see below, the inspiration behind the Bahjat's Palace is pretty directly linked to the Meidan Emam in Isfahan, a royal mosque from the Safavid Era!

Unfortunately, the establishing shot of the city isn't as easy to compare, with the introduction of modern architecture. But if we look at Yazd, an untouched city in Iran, we can see the traces of inspiration with just a few minor discrepancies: minaret, domed mosques, earthen town houses.

We also get these small fleeting moments that really make the characters feel like they're from another country. For example, Nasir, Ali's escort can be seen wielding a curved sword as opposed to a European broadsword. Later, Nora mentions that it is a shamshir, a type of Persian scimitar.

even these small details really make for great world building. Honestly, I'd love to see these props make a comeback in future scenes. Like can you imagine seeing one of the rugs Ali brought in the Neuschwanstein Castle?

Now to finally get to the part you've probably been waiting for. The clothes.

Unfortunately, I'm not as well versed in royal fashion in the Middle East so I had a hard time identified the style of dress.

When we compare the real Shahs of the Safavid Dynasty, we'll see that their fashion of choice changed greatly over the course of the ruling. I couldn't pinpoint exactly who, when or which specific culture ORKA is referencing here. But we do see some elements from Tahmasp I (feathered turban, ornate belt, embroidered textiles). Please correct me if I've made any errors here. I'm totally not confident in my Middle Eastern fashion history.

But above all else, I really just enjoy how the Pasha family is written and designed. I think we've seen stereotypes in all forms of media where middle easterners are portrayed... not so well.

In ASM, they're just the Pashas. As a foreign kingdom, they pose a threat against the Empire, but they're not evil. The King seems to be as tired with Halima's bullshit as the Empress is with Theo. Even Nasir has his own occasional dialogue, exasperated by Ali's behavior. And if you've read the same comics I have, we're all too familiar with the "dangerous and stoic middle-easterner" stereotype.

IMO, we've seen "foreign" characters in manga/manhwa that are usually boiled down to one of three types: the socially insensitive clowns/perverts, the murderer, or the alien that somehow has white skin and hair. but I personally find it a breath of fresh air how ASM leans full into the concept of darker skinned characters with dark hair and actual rounded personalities.

This shouldn't be such a high bar to reach, but ORKA has one again reached it.

[cutecuttlefish]

The sword of the day is the shamshir.

There are several kinds of Persian scimitar, and this is one of them. It features a particularly strong curve, which makes it an effective cutting weapon. As a light and fast one-handed weapon, the large pommel is not just for looks; that curve helps the wielder to retain control of the blade.

[buzz-london]

A Persian hero cleaves his opponent in two with a vertical cut of his scimitar. "The Tenth Joust of the Rooks: Barta versus Kuhram," Folio 345r from the Shahnama (Book of Kings) of Shah Tahmasp. Iranian, ca. 1525.

[talisidekick]

I quite like swords, do you have any fun facts on them

(Axes are fine too)

Well, since I already did a whole post on Axes, which you can read here:

I might as well do my due diligence and info dump on my knowledge of swords so ... I should have expected this but here we go:

A Brief (lmao not at all) Overview of a Complicated Sword History

by an autistic trans girl demon

So before we get started, first we have to understand the categorization of swords. What we know as a "sword" is a general term from Old English deriving from the word "Sweord", meaning a "long bladed weapon with a handle and sometimes a hilt that is designed to stab, hew, cut, or slice; this means if it was clearly designed not to stab, hew, cut, or slice, and doesn't have an arbitrarily "long" blade, it's not a sword. Secondly, a lot of historical sources really only focus on swords as weapons, not tools, and thus we have an issue where tools that fall under the same description of swords won't typically be called swords but classified as "this other totally not a sword thing". Thirdly, swords were a slow development from daggers, which were classified loosely as double edged blades of a knifes size. If you're not following yet, this classification doesn't apply to all long-bladed creations and rarely do we get accounts of their use as tools because of this. That is, unless, you start looking at the few tools that became swords. And additionally, we have to remember that other cultures had definitions for tools, weapons, and items that crossed over or into what the English defined as a "sword" meaning that the "sword" category starts getting messy real quick. This simply isn't as clean as "wedge-on-a-stick" (axe) or "short sharp thing with handle" (knife). And rather than define what is a sword by it's common definition, it's actually better to look at what has become classified as a "sword" despite not quite meeting the definition initially defined as "a long double bladed weapon with a handle and sometimes a hilt" and those creations that should be classified as swords but aren't.

Which we begin the "sword-enough" category in China with the Dao. The above image is the Duan Dao. Dao are single edged long bladed weapons that showed up somewhere in 1600 to 1050 B.C. during the Shang Dynasty period but gained popularity as a cavalry sword much later. There are many types of Dao, each classified by their blade length, blade type, handle length, etc. and had strict requirements for construction. It was used like a sword, but only had one edge, so we called it a sword despite it's cousin the Dao phased out, the Jian, actually fitting the initial "sword" description perfectly.

A version of a Jian for reference.

But I can hear it coming: isn't a Dao just a Sabre? And sure, the image I showed LOOKS like a Sabre, but thats because of the Dao's complex history and how it evolved over time. It at one time looked like this:

Which is a Wodao, a variant if the Dao that looked and often had very close similarities to another "shouldn't be a sword but is" creation from a different country. That is, the one edged blade known as ...

The Katana. But oh wait, this is actually part of a series! See out of all the "swords that shouldn't be swords" from Japan, the Katana has a shorter cousin, the Wakizashi, which is slightly smaller in blade and hilt, and the Tanto which should be a knife, but somehow squeezed itself in. All of these weapons have specific requirements to their construction to be called what they are from blade and tang length, to steel folding requirements, etc. but all have one thing in common: they've only got one edge. And next up from another edge of the world is ...

The Scimitar. A bastardization of the Persian word Shamshir, which is an entire classification of swords with curved blades that some Sabres, Dao, and at one point Katana's were all classified as. This category of one bladed swords is massive and includes weapons from North Africa to the Middle East to some areas in Europe. And is this rants segway into the tools category, starting with dancing swords. Now bear with me because I don't have a photo for this one; just a rant. While sword dancing began as training exercises for many cultures, it became entertainment and from it birthed a subcategory of unbladed swords that were flimsier, more flexible, and less likely to cut you. Unlike dancing with axes where the most that was done at best was a blunting of the blade, dancing swords aren't able to be resharpened to be weapons but are rather "tools" of entertainment. Despite not being bladed at all, or intended to stab, cut, hew, or slice, they look like swords and thats enough to call them swords. But want to know who doesn't get this treatment?

The Machete. Tanto gets to squeeze in on sword, but this is just a "long bladed knife". It's history is supposedly grounded in South America as a bush clearing and harvesting tool. But it's a tool, not a weapon, and thus in it's own class. Another familiar face stuck in it's own class is ...

The Sickle. Now theres MANY types of sickles, many sizes, several could be "swords" by the way we include one-bladed creations. But alas, it's not a weapon, thus not a sword, unless it IS a weapon in which it IS a sword, a "sickle sword" or ...

A Khopesh. But oh crap, a sickle that is a sword? A tool used both for combat, harvest, and a trade tool? Thats only 1/3 sword! What can we do to preserve our obviously pristine and infalliable "sword" categorization? Answer: call it "Sickle Shaped".

Look, I don't know how to end this besides saying that I do genuinely love swords. They've been coming of age gifts, presents for achievements, badges of honour, and in many cultures, like my ancestors, a symbol of love and unity. The very act of driving a sword deep into a pole to see how far it would go in as a "sign" of how long a marriage could last was part of some germanic/viking culture. Swords are awesome. But the classification and what we do and don't consider a sword is arbitrary, hypocritical, and stupid.

Go buy a sword for a loved one. The classification apparently doesn't matter so just make sure it looks "sword enough" and no one can argue with you.

[shisui-uchiha-anon]

plotted starter for @hatredcurse

There were cops and there was Fugaku, unlike others he was a jerk every single time. He was the bridge between state cops and outside special forces. The detectives and cops who worked under Shisui went on scenes when nothing else worked and when state jerks like Fugaku could not solve crimes or fix their own messes. And there he was. Fugaku sitting across Shisui with that always dull facial expression now angry one fuming almost.

"Shisui you are a hellspawn you know that! I am telling you to..." and there he goes exploding into authority that he thought he had here.

"Of course, I am, we were born to become hellspawns. We all sin and earn that place one way or another. " Shisui replied cutting Fugaku in the middle of his tirade. Was Shisui religious? No one was sure about that, he always had a silver chain around his neck with a small cross. Slowly Shisui's gaze shifted from his empty cup of coffee to Fugaku, Shisui's voice was emotionless even the tone of his voice was indifferent, and his cop face was on while he listened. And to be frank he thought that Fugaku was overreacting.

Foresincs was still there in the house where the murder was committed. According to Fugaku, it's a horror show inside, to which Shisui just rolled his eyes and lit his next cigarette. The car of the victim was parked outside a white Mercedes, on the left side it was damaged. If Shisui didn't know better he would say it was claw marks of some beast. He touched and the split edges were sharp, it was done with some blade a curved blade like a scimitar. That was nothing new, some killers liked to leave a mark or to vandalize the property of their victims. Plus if the killer knew the victim it could also be a personal revenge.

Never before Shisui was glad that he had to examine the crime scene at nightfall, somehow darkness dulled all the red of the blood. The first body was outside between two pine trees between the roots. This time Shisui didn't roll his eyes. Whole his career he had never seen anything like this. This was like the work of a butcher. Have you ever seen how a butcher cuts up a pig and takes out all the insides wash and you have your meat. This was just messy, blood-coathed the grass and the trunks of pine trees. The head was still there horror of what happened to the man was evident frozen there forever. The main cut went from the base of the neck to the groin. From that point, the body was opened like a closet and the killer picked which clothing to take and which to leave. The heart was gone, lungs, kidneys, spleen he was cleaned out, only his cock was left to which Shisui had to chuckle when he regained his senses.

"I guess you pissed off the wrong woman she took all but left you with your pride" Skin was removed too, leaving the pink flesh of muscles revealed to the world, only his neck and head were untouched, his guts were taken and left to the left side of his body like a coiled snake just this one was full of shit.

Inside of the house was a female victim, the blood inside was more visible under the artificial lights. It was brown and thick and almost dry over the walls and over the rich Persian carpet. Inside there were more cops the one in charge was a tall piece of work. Looking at a dead woman with a cold collected demeanor. Shisui had no chance to speak because Fugaku did it for him.

"This is Kazuo the one who leads this investigation and this is Shisui he will help you get to the bottom of this"

Shisui just sighed looking at the taller man, damn he was tall almost like a pine tree, if a serial killer meets him he will for sure shit his pants.....

[the-first-man-is-a-cat]

“Cast your gaze between Mount Sion and the Temple; look on that other little tribe who live separated from the rest of the inhabitants of the city. Ever a particular object of contempt, they bow their heads without complaint; they suffer every indignity without demanding justice; they allow themselves to be overwhelmed with blows without a groan; if their heads are required, they present them to the scimitar. If any member of this proscribed society dies, his companions will bury him secretly, at night, in the Valley of Jehoshaphat, in the shadow of the Temple of Solomon. Penetrate the dwelling places of that people, and you will find them in abject poverty, reading a mysterious book to their children which will be read, in turn, to their children. What they performed five thousand years ago, this race still performs. Seventeen times they witnessed the fall of Jerusalem, yet nothing can discourage them from turning their eyes toward Zion. When one sees the Jews dispersed throughout the earth, according to the word of God, one is indeed surprised; but to be struck by supernatural astonishment, one must encounter them again in Jerusalem; one must see the legitimate rulers of Judea, slaves and foreigners in their own country: one must see them still awaiting, despite all oppression, a king who will deliver them. Persians, Greeks, Romans, have disappeared from the earth, and a little tribe, whose origin antedates that of those great peoples, still lives without admixture among the ruins of its country. If anything, among the nations, possesses the character of a miracle, that character, I believe, is here.”

-François-René de Chateaubriand, 1806 - 1807

[1five1two]

And barbarians were inventors not only of philosophy, but almost of every art. The Egyptians were the first to introduce astrology among men. Similarly also the Chaldeans. The Egyptians first showed how to burn lamps, and divided the year into twelve months, prohibited intercourse with women in the temples, and enacted that no one should enter the temples from a woman without bathing. Again, they were the inventors of geometry. There are some who say that the Carians invented prognostication by the stars. The Phrygians were the first who attended to the flight of birds. And the Tuscans, neighbours of Italy, were adepts at the art of the Haruspex. The Isaurians and the Arabians invented augury, as the Telmesians divination by dreams. The Etruscans invented the trumpet, and the Phrygians the flute. For Olympus and Marsyas were Phrygians. And Cadmus, the inventor of letters among the Greeks, as Euphorus says, was a Phoenician; whence also Herodotus writes that they were called Phoenician letters. And they say that the Phoenicians and the Syrians first invented letters; and that Apis, an aboriginal inhabitant of Egypt, invented the healing art before Io came into Egypt. But afterwards they say that Asclepius improved the art. Atlas the Libyan was the first who built a ship and navigated the sea. Kelmis and Damnaneus, Idaean Dactyli, first discovered iron in Cyprus. Another Idaean discovered the tempering of brass; according to Hesiod, a Scythian. The Thracians first invented what is called a scimitar (arph), -- it is a curved sword, -- and were the first to use shields on horseback. Similarly also the Illyrians invented the shield (pelth). Besides, they say that the Tuscans invented the art of moulding clay; and that Itanus (he was a Samnite) first fashioned the oblong shield (qureos). Cadmus the Phoenician invented stonecutting, and discovered the gold mines on the Pangaean mountain. Further, another nation, the Cappadocians, first invented the instrument called the nabla, and the Assyrians in the same way the dichord. The Carthaginians were the first that constructed a triterme; and it was built by Bosporus, an aboriginal. Medea, the daughter of Æetas, a Colchian, first invented the dyeing of hair. Besides, the Noropes (they are a Paeonian race, and are now called the Norici) worked copper, and were the first that purified iron. Amycus the king of the Bebryci was the first inventor of boxing-gloves. In music, Olympus the Mysian practised the Lydian harmony; and the people called Troglodytes invented the sambuca, a musical instrument. It is said that the crooked pipe was invented by Satyrus the Phrygian; likewise also diatonic harmony by Hyagnis, a Phrygian too; and notes by Olympus, a Phrygian; as also the Phrygian harmony, and the half-Phrygian and the half-Lydian, by Marsyas, who belonged to the same region as those mentioned above. And the Doric was invented by Thamyris the Thracian. We have heard that the Persians were the first who fashioned the chariot, and bed, and footstool; and the Sidonians the first to construct a trireme. The Sicilians, close to Italy, were the first inventors of the phorminx, which is not much inferior to the lyre. And they invented castanets. In the time of Semiramis queen of the Assyrians, they relate that linen garments were invented. And Hellanicus says that Atossa queen of the Persians was the first who composed a letter. These things are reported by Seame of Mitylene, Theophrastus of Ephesus, Cydippus of Mantinea also Antiphanes, Aristodemus, and Aristotle and besides these, Philostephanus, and also Strato the Peripatetic, in his books Concerning Inventions. I have added a few details from them, in order to confirm the inventive and practically useful genius of the barbarians, by whom the Greeks profited in their studies. And if any one objects to the barbarous language, Anacharsis says, "All the Greeks speak Scythian to me."

Clement of Alexandria

[desertpeachcatte]

5 Character Associations: I'kaya Tia

EMOTIONS/FEELINGS

1. Pride

2. Repressed Passion

3. Grief

4. Love

5. Sacrifice

COLOURS

1. Platinum Blue

2. White

3. Silver

4. Amber

5. Royal Blue

SCENTS

1. Ginger

2. Cloves

3. Leather

4. Steel Sparks

5. Jasmine

OBJECTS

1. Engraved Scimitar

2. War Paint

3. Desert Sun-kissed Canyons

4. Whirling Dervish (ok not technically an object ;;)

5. Electrical Cables

BODY LANGUAGE

1. Slightly Pursed Lip

2. Crossed Arms

3. Arched Brow

4. Slightly Thinned Lips

5. Low Hum (often perceived as judgmental even if he didn't intend it that way)

AESTHETICS

1. Turkish/Persian Gladiator

2. Tribal Futurism

3. Bedouin

4. SWANA-flavored Wuxia

5. TRON

[kultofathena]

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Persian Shamshir from @kult_of_athena Review!

video via sellsword.arts

[theworldsoftolkein]

Haradrim Cavalryman - by TurnerMohan

"Southward beyond the road lay the main force of the Haradrim, and there their horsemen were gathered about the standard of their chieftain. And he looked out, and in the growing light he saw the banner of the king, and that it was far ahead of the battle with few men about it. Then he was filled with a red wrath and shouted aloud, and displaying his standard, black serpent upon scarlet, he came against the white horse and the green with great press of men; and the drawing of the scimitars of the Southrons was like a glitter of stars.

Then Theoden was aware of him, and would not wait for his onset, but crying to Snowmane he charged headlong to greet him. Great was the clash of their meeting. But the white fury of the Northmen burned the hotter, and more skilled was their knighthood with long spears and bitter. Fewer were they but they clove through the Southrons like a fire-bolt in a forest. Right through the press drove Theoden Thengel's son, and his spear was shivered as he threw down their chieftain. Out swept his sword, and he spurred to the standard, hewed staff and bearer; and the black serpent foundered."

ROTK chapter 6: The Battle of the Pelennor Fields

Of all the designs in the lord of the rings movies, the "evil" men in service to Sauron were a bit of a disappointment to me, mostly because I got the sense alot of their design process was hampered by the requirement not to offend anyone, so whereas the gondorians got to draw from all this long history of beautiful italian art, and the rohirrim were ancient anglo saxons almost to the letter, the invading men from the south and east just kind of ended up looking like mishmashed videogame villains. I suppose I can understand the necessity; phrases like "the white fury of the northmen" are among Tolkien's more shall we say uncomfortable lines, at least for modern tastes, but this design is alot closer to what was in my head while reading the books. the costume is drawn mostly from arabic and turkish armor with a little ancient persian and rajput thrown in for good measure

[bugcowboyart]

I only had to be asked once—

Marta’s rapier and dagger are standard issue Second House, and Jody carries an identical one. The hilt is based on modern naval standard issue rapiers and the pommel is red anodized steel rather than a more frivolous stone or design. The entire weapon is hard metal. Two lines mark the house on the ricasso.

Naberius’s weapons are form over function, and I went out of my way to make it look painful to hold (after all, the Princesses regularly eat him) every element from the precious stones to the filigree basket come in three, but the third spike on the knuckle guard breaks off from the other two. Made of gold, enamel, and a gold-washed steel blade both weapons are meticulously engraved with even further small details that were hard to render at this scale. The dagger is based on split parrying daggers, sometimes called trident gauches of the Renaissance.

For Jeannemary, there are elements of the standard issue as the fourth is extremely militaristic like the second, but has a blue cabochon in both hilts and wrapped leather and cord hilt. The basket on the rapier and partying loop on the dagger reflect the fourths talents fkr wards and Jeannemary’s relationship to Magnus. It is the smallest rapier on the board because she is just 14 and looking at it in scale makes me sad (which makes it a good design choice). Four lines down the ricasso show the house, and including the cross guard there are four horizontal elements to the basket.

Magnus’s blade I designed as a wedding or anniversary gift from Abigail, based on old books about Celtic love knots and necromantic theory about interwoven souls. Each flat band of filigree is engraved with their vows or necromantic theorems. It has brown carved and inlaid cabochons on each pommel and brown leather wrapped hilt for comfort. The blade is white steel.

Cam’s twin blades are based on Turkish scimitars and Persian kukris, but in a sleek all metal form reflective of the Sixth’s functional vibes. The only decorative marks are the three lines on each blade totaling 6. The swords are smaller allowing for Cam’s aggressive and effective fighting style. The heavy metal pommels are super effective for bludgeoning whoever she needs to.

Protesilaus one ups Babs with form over function, with a copper washed rapier with elaborate filigree sweepings in loops, swirled, and vines. There’s a carved and inlaid jade hilt on both weapons with designs a mishmash of ocean and floral Greek, Chinese, and art deco motifs. The chain is based on Chinese weapons called kau sin ke, with the weight shaped after a flower bud.

I’m stark contrast is Colum’s straight forward rapier and sidearm based on medieval Templar weapons and simple rapiers. The small shield is between a targe and a buckler. The cruciform details repeat, I think John just reused the cross as his own symbol when rebuilding his church. Unlike the other rapiers, it is more like a short sword with a long fuller.

Finally, Gideon Nav’s mass produced two handed sword with a perfunctory leather wrapped hilt and basic machined metal pommel. The pommel is similar in shape to the pommels on the second and fourth rapiers. It is in dark steel, reflecting the Ninth house. Despite its huge function in the story, it is the most basic shaped weapon with no decoration in hard contrast to the overblown decoration of other ninth custom made weapons (I imagine Ortus’s was wild with skulls and bones!) I gave it a concave ricasso to make it more separate from the rapiers.

Let me know if there’s anything specific you want info on that I didn’t hit!

Blades of the Cavalier Primaries Displayed for your Appreciation

In house order from top to bottom. I’d be happy to explain the choices if anyone is interested!

[shahahsanpoetry]

The mustang

I am the nomad traversing the frontiers of a desert cemetery serving as a basin for vipers waiting to snip away at the fragile thread that serves as my tightrope

As I walk through the valley of the shadow of death and crawl closer to the mouth of hell, I toss pages of scripture between those honeydew lips – each word is a scimitar slash that severs the clinging clots choking my arterials

For, it is written that the man who calls upon Yeshua shall be spared from having the noose fastened firm around his neck

Whom shall I fear? with the Sheppard by my side, the sourness of poverty is sweeter than Persian sherbet

Whom shall I fear? through the Lord, the gale-force winds of loneliness that blistered my cracking visage is a mild breeze that sterilizes the wounds left behind by the wages of Pauline transgression

You hoist me towards the promised pastures where I roam like a mustang galloping atop the mountaintop – unbounded by the weight of the world’s chastisement

SA

[englishwiseae]

From Registration to Results: A Step-by-Step Guide to Online PTE Success in Dubai

Embarking on the journey to conquer the Pearson Test of English (PTE) can seem as ambitious as scaling the Burj Khalifa. The skyline reflects the city’s ambitious educational goals, and enrolling in online PTE classes in Dubai offers a comprehensive roadmap to mastering this English language test. This guide not only walks you through the registration process but also escorts you straight to the moment you triumphantly access your results.

Step 1: Decoding the online PTE classes in Dubai

Picture the online PTE classes in Dubai as a four-part symphony, each section (speaking, writing, reading, and listening) a movement that tests your linguistic skills in a high-stakes academic environment. Begin by immersing yourself in the test’s structure, question types, and scoring nuances. Understanding these elements is like having a map in hand before embarking on a desert safari—it’s essential!

Step 2: Selecting Your Guide

Just as you’d choose a knowledgeable desert guide, picking the right educational provider in Dubai is crucial. Seek out institutions famed for their:

Sage Instructors: These are the mentors with a knack for transforming complex English language nuances into comprehensible lessons.

Rich Learning Materials: Opt for courses packed with detailed study guides and an arsenal of practice tests.

Real-Time Test Simulations: Engage in mock exams that mimic the natural test environment for online PTE classes in Dubai. You can contact professional services for PTE Exam Fees in Cairo.

Adaptable Schedules: Ensure the course fits your personal and professional life like a tailored Arabian robe.

Step 3: Enlisting for the Journey

Signing up is your official commitment to conquer the online PTE classes in Dubai :

Navigate to your chosen provider’s digital oasis (website) and select your course.

Fill out the virtual parchment (registration form) and transfer your digital coins (make a payment).

Await the magical seal of enrollment (confirmation email) that grants you access to the treasure trove of learning materials.

Step 4: Diving into the Oasis of Knowledge

Active engagement in your course is akin to diving deep into the calm waters of an oasis:

Participate fully in all live sessions, as each one is a stepping stone to mastering the English language.

Complete all assignments with the diligence of crafting a fine Persian carpet.

Utilise extra resources such as one-on-one tutoring as if they were rare spices that enhance the flavour of your preparation.

Step 5: Navigating Through Feedback

Regular assessments and feedback are your compass in the desert of preparation:

Cherish the feedback like rare desert rain, using it to nurture your growing skills.

Identify oases (strengths) and mirages (weaknesses) to focus your efforts effectively.

Step 6: The Caravan to the Test Center

When ready, join the caravan (register) for the exam of online PTE classes in Dubai:

Select a date at a test centre as you would choose the perfect date for a desert star-gazing night.

Confirm your place under the constellation of test-takers.

Step 7: The Final Encampment

In the last few weeks before the exam, your preparation should intensify:

Revise like you are tracing the sands of time.

Engage in mock tests to sharpen your test-taking scimitar. For more details on PTE Exam Fees in Cairo, speak to experts in the field.

Step 8: The Day of the Test

On test day, approach the centre as if you were entering the gates of an ancient, revered fort:

Arrive early to acclimatise and adapt.

Follow the sage advice of the centre’s custodians and manage your resources (time) wisely.

Step 9: Unveiling the Scores

Retrieving your results is like finding the scroll of your fate:

Log into your portal to discover the treasures of your hard work.

Analyse your score as a merchant would his profits, determining where gains were made and where investments are still needed.

Step 10: Charting the Next Course

With scores in hand, navigate your next steps:

If satisfied, proceed like a victorious trader returning home.

If aiming higher, re-enlist for the journey, armed this time with the wisdom of experience.

Step 11: Linguistic Souk Visits

Imagine each language skill as a vibrant souk in Dubai. Create interactive virtual marketplaces where:

Each ‘stall’ offers different language challenges or puzzles.

Engage in barter-like exchanges where you trade solutions with peers, fostering a collaborative learning environment.

Step 12: The Tech Oasis

Incorporate Dubai’s pioneering tech landscape into your study:

Use augmented reality (AR) apps to visualise grammar rules and vocabulary in 3D, making complex language concepts straightforward and engaging.

Employ voice recognition software during speaking practices to get real-time feedback and pronunciation coaching, simulating a digital language tutor.

Step 13: Desert Island Discourses

Transform practice sessions into themed discourses set in various iconic Dubai landscapes:

Conduct speaking practices as if you’re leading a tour of the Burj Khalifa, explaining architectural features or history to an imaginary group of tourists.

For writing, imagine drafting press releases for the Dubai Media City, adapting your tone and style for different audiences and purposes.

Step 14: Mindful Mirage Reflections

Use the serene imagery of a desert mirage to practice mindfulness techniques:

Before each study session, visualise achieving your ideal score in online PTE classes in Dubai as a mirage that becomes a reality, setting a positive tone for learning.

Practice deep breathing exercises styled after the rhythmic waves of the Arabian Gulf to maintain calm and focus during test preparations.

Step 15: Festival of Achievements

Celebrate your preparation milestones with a festival-themed reward system:

Organise a virtual festival where each milestone achievement unlocks a new ‘event’—this could be a movie night, a special dinner, or an online concert.

Mirror the extravagance of Dubai’s shopping festivals by treating yourself to books, gadgets, or experiences that contribute to your learning or relaxation.

By navigating these steps, your expedition through the online PTE classes in Dubai will not only prepare you for the exam but also deepen your appreciation and command of the English language, serving you well in your academic and professional quests in Dubai and beyond. Embark on this journey with confidence and the spirit of adventure!

[gamersguide]

PRINCE OF PERSIA: THE LOST CROWN | GAMERS GUIDE REVIEW

The desert wind whispers through all of us, not just across my sun-baked skin, but into the bones. It carries the faintest echo of clanging scimitars and desperate leaps across impossible chasms. For a Prince of Persia fan, that’s more than just a breeze; it’s a battle cry, a siren song calling us back to a golden age of sand-dusted acrobatics and time-defying feats. The first time I scaled the Palace walls, fingers scrabbling for purchase on ancient brick. My heart echoed the Prince’s cocky bravado, each step a defiance against gravity and destiny. And the Sands of Time! To rewind a misstep, a brush with death, and try again, a dance with fate as exhilarating as it was terrifying.

Years have passed, kingdoms traversed, sandcastles built and washed away by the tide of new games. Yet, the Prince’s shadow lingers, a silhouette forever etched against the crimson sunset of a thousand afternoons spent glued to the screen. The parkour flows through my dreams, the witty banter a soundtrack to my imagination. Now, a new whisper ripples through the desert. The Last Crown gleams, a promise of untold adventure. My fingers twitch, yearning for the cold comfort of a scimitar hilt, the familiar weight of responsibility settling on our shoulders. But is it really a wow thing? Here’s my review of The Lost Crown:

The Last Crown is a 2024 action-adventure platformer game developed and published by Ubisoft. It is the latest installment in the Prince of Persia series, and it takes players on a journey through a mythical Persian world filled with danger and excitement.

Storyline:

Sargon, our newest hero, steps into the spotlight, not a prince by blood, but one forged in the fire of the Immortals, an elite warrior clan. His quest? To rescue Prince Ghassan from the clutches of the cursed city of Mount Qaf, a perilous journey echoing the classic hero’s call. But Sargon’s path is paved not just with blades and treacherous platforms, but with the intriguing twist of time manipulation. This ain’t your grandpa’s Sands of Time rewind. Here, we dance with echoes, crafting clones, slowing moments to a crawl, and even rewinding entire timelines. It’s a mind-bending ballet of combat and puzzle-solving, pushing the boundaries of what we thought possible in this beloved franchise.

Speaking of boundaries, The Last Crown breaks free from the linear corridors of the past. Sprawling, interconnected environments beg exploration, each biome boasting its own secrets and challenges. Sun-drenched deserts give way to verdant mountain valleys, crumbling ruins whisper forgotten lore, and the mythical Mount Qaf itself, a gravity-defying labyrinth, promises to redefine platforming as we know it.

But where are the familiar echoes of the past? Fear not, for the spirit of the series resonates in every leap and parry. The acrobatic combat is a symphony of steel and silk, each fluid movement a testament to Sargon’s skill. Witty banter punctuates the tension, reminding us of the Prince’s trademark charm. And those who still yearn for the Sands of Time will find echoes in the manipulation of time, albeit in a fresh, innovative form. So, is The Last Crown a mere retread of old glories? Absolutely not. It’s an evolution, a reinvention that honors the past while blazing a bold new trail. It’s a love letter to fans

Theme:

The central theme rests on Sargon’s journey of self-discovery. Thrust into the mantle of hero as an outsider to the royal lineage, he grapples with the expectations thrust upon him. Through his trials, he forges his own path, earning the respect of his comrades and ultimately defining his place in the world, not through inherited royalty but through his own courage and skill. This echoes the series’ enduring message: heroism can bloom in the most unexpected places. The concept of legacy casts a long shadow. The game explores the burden of living up to the deeds of ancestors, with Ghassan struggling under the weight of his royal legacy and Sargon navigating the expectations attached to the Immortals. It asks us to consider the complex relationship between history and personal choice, questioning whether we define ourselves by the achievements of the past or carve our own unique path. 

Time itself becomes a thematic tool. The manipulation of echoes and timelines delves into the consequences of our actions, inviting us to contemplate the potential for change and the ripple effects of decisions. It raises questions about responsibility and regret, reminding us that every choice carries weight and shapes the tapestry of our own past, present, and future. However, a critical analysis reveals some cracks in the thematic facade. Sargon’s journey, while compelling, can feel derivative of previous Prince of Persia narratives, lacking the emotional depth of the Sands of Time trilogy. The exploration of legacy, while intriguing, sometimes gets overshadowed by the action-packed gameplay, and the consequences of manipulating time remain largely hypothetical, never truly impacting the narrative in a profound way.

Despite the shortcomings, The Last Crown’s thematic threads offer engaging food for thought. It invites us to ponder our own identities, the legacies we leave behind, and the power of our choices. While not universally groundbreaking, it provides a layer of depth beyond the acrobatic spectacle, enriching the experience for those who seek meaning beyond the thrill of the chase. Ultimately, The Last Crown’s themes are like an echo of the past, familiar yet with a distinct twist. It offers a thought-provoking exploration of identity and destiny, even if it doesn’t quite reach the emotional heights of its predecessors. It remains a worthy addition to the series, with its thematic core adding depth and resonance to the acrobatic adventure.

Gameplay:

Sargon’s movement is a joy to behold. He flows across rooftops with the grace of a dancer, scaling walls with effortless parkour precision. Wall runs, ledge grabs, and daring leaps weave into a symphony of skill, putting your platforming prowess to the test. Each successful maneuver feels like a reward, and mastering the intricate sequences becomes addictive. The game’s signature twist comes in the form of time manipulation. You can rewind moments, slow down time, and even create echoes of yourself to solve puzzles and overcome obstacles. This adds a layer of strategic depth, forcing you to think creatively and experiment with different temporal possibilities.

From swift parries to brutal takedowns, combat is a fast-paced ballet of steel. You wield swords, daggers, and even a bow, chaining together combos and utilizing Sargon’s special abilities to dispatch enemies. The combat system is responsive and rewarding, encouraging aggressive play while punishing reckless button mashing. The Last Crown embraces an open-world structure, allowing you to explore sprawling, interconnected environments at your own pace. Hidden secrets, collectible treasures, and optional side quests abound, rewarding exploration and encouraging meticulous scouring of every nook and cranny. Environmental puzzles weave seamlessly into the gameplay, testing your observation skills and understanding of time manipulation mechanics. They range from simple block-pushing to mind-bending temporal paradoxes, offering variety and keeping the pace fresh.

While the core gameplay elements feel familiar to Prince of Persia fans, The Last Crown introduces welcome innovations. The time manipulation mechanics are a breath of fresh air, and the open-world design offers unprecedented freedom. Yet, the game retains the spirit of the franchise, with acrobatic thrills and witty banter driving the experience. However, some caveats deserve mention. The open-world structure can feel repetitive at times, with some environments lacking the distinct personality of earlier Prince of Persia games. The combat, while fun, can get button-mashy in extended encounters, and the puzzles, while varied, don’t always reach the brain-bending complexity of previous titles.

Graphics:

The Last Crown paints a visual canvas, employing a vibrant, stylized art style that blends seamlessly with its mythical Persian setting. Here’s a closer look at its graphical flourishes:

The deserts bask in a warm, golden glow, emphasizing the rugged beauty of cracked canyons and windswept dunes. Lush oases offer a vibrant contrast, teeming with emerald greens and sapphire blues. Ancient ruins stand bathed in a mystical aura, their intricate carvings and towering structures whispered of a bygone era. Mount Qaf, defying gravity itself, is a feast for the eyes. 

Sargon and his companions move with fluid grace, their armor and clothing rendered with meticulous attention to texture and design. Facial expressions are rich and expressive, bringing emotions to life during both intense combat and heartfelt conversations. Sunbeams pierce through dust motes, casting dramatic shadows across crumbling walls. Glowing waterfalls illuminate hidden caverns, while flickering torches dance in the night, creating an immersive atmosphere. Sand swirls in mesmerizing dances, magical energies crackle with vibrant hues, and shattered pottery fragments scatter with realistic physics. These details add a layer of depth and believability to the world.

The game embraces a stylized approach, with exaggerated silhouettes and vibrant colors reminiscent of Persian miniatures. This lends a unique charm to the visuals, setting it apart from the hyper-realistic aesthetic of many AAA titles. However, a graphical analysis wouldn’t be complete without acknowledging some potential drawbacks. While the stylized approach is beautiful, it may not appeal to everyone who craves gritty realism. Textures, while detailed in close-up, can appear blurry at times on certain platforms. And while the environments are diverse, some players might find them formulaic after venturing through several similar environments.

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Originally Published at Gamer's Guide