#Sacred Geography

[ryanranney]

Ala Bathia

On the sacred mound of ages ago where man met the flames of burning bushes and feet of the holy tread   There alone the hammer fist surrounded the waters where leviathan sleeps until such time   Declare declare forevermore the sights and sounds of smoke it’s token memory not forgotten and cities no man remembers   There my home from east to west gather the southern wind bring forth the north flow…

[fancypantsrecords]

Gewgawly I & Thou - NORCO Original Soundtrack | Sacred Bones Records | 2022 | Red Opaque

[pink-lemonade-rose]

In a well-known excursus in the tenth book of the Geography, Strabo explains the place of music in orgiastic ritual. He distinguishes types of festivals according to the role within them of divine possession, [mousike], and mystic elements. Mystic concealment, he argues, induces reverence, and [mousike] brings us in touch with the divine. Strabo goes on to speak of music as the foundation of education and also as a way of imitating the gods. The Muses themselves, he points out, are goddesses (10.3.10); and the Pythagoreans regarded all music as the work of the gods, teaching that the cosmos was constituted according to the principle of musical harmony. He asserts a common Greek association of "everything orgiastic, Bacchic, choric...and mystic," with Dionysus, Apollo, Hecate, the Muses, and Demeter; he notes choric activity as a feature common to all these cults [...].

Alex Hardie, "Muses and Mysteries"

[protoslacker]

WTOP News. National Cathedral installs stained glass windows with racial justice message

With prayers, poetry, hymns and history, the Washington National Cathedral dedicated two new racial justice-themed stained glass windows Saturday. The windows replaced two others that were removed in 2017 and paid tribute to Confederate Generals Robert E. Lee and Thomas “Stonewall” Jackson. Each of those windows included depictions of the confederate battle flag.

Here's a report at NPR about the removal of the Confederate windows which were installed in 1953.

[literaryvein-reblogs]

Writing Notes: World-building Questions

How long has your world existed?

How many major cultures exist in your world? (You can answer the following questions for each of them!)

How did your world originate? Do the people who inhabit this world/culture have a creation myth, or a scientific explanation for how it came to be?

If your world/culture has religion, is there one main religion, or many religions? Are the main religions of your world monotheistic or pantheistic?

What resources are in your world/culture? What are the imports/exports? Which resources are rare and valuable, and which are necessary or common?

What are some important historic events in your world/culture? How did they contribute to the geographic or social structures that exist in your world’s present day?

What holidays does your world/culture celebrate?

What is considered a curse word in your world/culture? What is considered sacred, and what is considered profane?

What is the geography and climate of your world/culture?

What are the distances between important places in your world? Draw a map if you want to!

What is the structure of your world’s/culture’s government? Are they at peace or in conflict with neighboring worlds/cultures?

What language(s) do your characters speak? Is language ever a barrier to communication?

What are some of the main dishes the people in your world/culture eat? Where does the food come from, and how is it prepared?

What are the limitations of power, energy, or magic in your world/culture?

What kinds of objects or ideas are familiar to the people of your world/culture? What kind of objects or ideas are strange or outlandish to them? Note: the answers to this might vary depending on the culture your various characters (and readers) come from! What’s familiar to you or your main character might be wildly unfamiliar to someone else. 

What are some details you can use from real-world places that are similar to your story world to make it feel more believable? (Think concrete: Sights, sounds, tastes, smells, textures)

How does your main character feel about the world/culture they grew up in? 

What does your main character’s home look like? You can describe their room, their house, their neighborhood, their city.

Does your main character most often interact with people who share their experiences, worldview, and upbringing, or do they most often interact with people from very different cultures and life experiences from themselves? What are some of those similarities or differences?

Where does your main character fit into the class/social status of your world/culture? What are some specific things about their location or appearance that indicate wealth, status, profession, etc.?

Source

[sierrawitch]

Table of Contents

Welcome to my little corner of the internet. I am autumn sierra, a Goidelic (Celtic) and Eclectic Folk Magick practitioner. Here you’ll find my musings and recordings of my practice and its many facets—including history, geography, language, culture, etc. Please stay a while 🌿

Academic Articles

Menstrual Magick: The Goddess Within

Master Posts

Ogham Master Post

Celtic History & Culture

Celtic Customs: Hair

Mallacht, Géisa, Piseógs, Sugáns & Bulláns: Superstition & Cursing

Scottish Saining

What is “Celtic”?

Sacred Animals & Their Correspondances

Intuitive Magick

Rebirth Shower

Healing Doll

Journal Entries

Visualization for the Clairvoyantly Impaired

Manifestation of the Spoken Word

On Religious Guilt

On Consistency

[novlr]

My MC loves rasing plants. Can you give any tips on how to incorporate that into the story?

Plants can serve as powerful symbols, metaphors, and plot devices, adding depth and richness to your stories, and are a great thing to include in your narrative! Whether you’re writing a lush, vibrant garden scene or a barren, lifeless landscape, incorporating plants into your writing can help you create immersive and memorable settings, but they can also serve to develop complex characters and worlds by considering your characters’ relationships with them or incorporating them into your world’s mythos.

The symbolic meaning of plants

Plants have long been associated with various symbolic meanings across cultures and traditions and can symbolise various themes and emotions. We have an introduction to the symbolism of flowers in this Tumblr post; however, here are some more ways you can think about how to incorporate the symbolism into your own writing.

Consider the real-world cultural symbolism you want to draw from. Symbolism that is common in one country, and one period of time may not be the only way to represent something.

Think about the health of the plants. For instance, wilted flowers can symbolise decay, loss, or the passage of time.

A character’s relationship with a plant can reveal aspects of their personality or emotional state, especially when combined with that plant’s symbolic nature.

The growth or decay of a plant can parallel a character’s personal growth or decline in line with the character trait that plant represents.

Consider researching whether a plant has multiple symbolic meanings and whether you can use that to give your characters depth.

Use plants to develop characters

Plants can also be used to develop characters by reflecting their personalities, backgrounds, or emotional states. For example:

A character who meticulously tends to their plants may be detail-oriented, patient, and disciplined.

A character with a neglected or overgrown garden might be struggling with personal issues or feeling overwhelmed.

A character who keeps a specific type of plant, such as a rare orchid, may have a unique backstory or quirk.

A character’s favourite plant or flower can reveal their cultural background, memories, or aspirations.

An allergy or aversion to certain plants can add depth to their personality and create potential conflicts or challenges.

A character’s knowledge of plants, such as their medicinal properties or cultural significance, can showcase their intelligence, education, or heritage.

Writing plants into world-building

In the setting of your story, plants can play a crucial role in world-building. Consider the following:

If writing genre fiction, create unique, fictional plants that have specific properties or uses within your world, such as a plant that glows in the dark or one that can heal wounds.

Use plants to create a sense of atmosphere or mood. A dark, foreboding forest can evoke feelings of danger or mystery, while a lush, vibrant garden can convey a sense of peace and tranquility.

Consider how the climate and geography of your world would influence the types of plants that grow there. A desert setting might feature hardy, drought-resistant plants, while a tropical setting would have more lush, exotic vegetation.

Incorporate plants into your world’s mythology or folklore. Certain plants might be sacred to specific cultures or have legendary origins.

Show how plants are used in daily life, such as for food, medicine, clothing, or shelter, to add depth and realism to your world.

Create atmosphere with plants

Plants can be powerful tools for creating atmosphere and setting the mood in your writing.

Consider the sensory details associated with plants, such as their scent, texture, and appearance.

Use vivid descriptions of plants to immerse your readers in the setting and convey the desired emotional tone. The presence or absence of plants can also symbolise the overall state of the world or society.

Use plants to create contrast between different settings or to reflect changes in the story’s tone.

If your characters are associated with plants, show how their stories develop and change by reflecting those same changes in the plants that surround them.

Plants as plot devices

Plants can serve as powerful plot devices in your stories. They can be used to:

Create obstacles or challenges for characters, such as a poisonous plant or a rapidly growing vine that blocks their path.

Provide clues or solutions to mysteries, like a rare flower that holds the key to a puzzle.

Serve as a catalyst for character growth or change, such as a character learning to nurture a plant and, in turn, themselves.

Represent the passage of time or the changing of seasons, mirroring the story’s progression.

They can be used to create suspense and foreshadow future story beats.

Serve as a symbol of hope or resilience if they survive and flourish despite harsh conditions.

Research plants for authenticity

When incorporating real-world plants into your writing, it’s essential to research their characteristics, habitats, and cultural significance to ensure authenticity. Things to look for might include:

Research the specific characteristics, growth patterns, and care requirements of the plants you include.

Consider the climate, soil type, and seasonal changes that affect the plants in your story’s setting.

Use reliable sources such as botanical gardens, gardening books, or online plant databases.

Incorporate sensory details such as the texture of leaves, the colour of flowers, or the taste of fruits.

Avoid relying only on stereotypes or generalisations about plants to maintain authenticity.

If you’re writing about a specific culture or time period, research the plants that were significant to that context and how they were used.

Visit local gardens, parks, or natural areas to observe plants firsthand and gather inspiration for your descriptions.

[the-whatcherof-89]

Geminitay Aka Mrs Crystal Sunrise . 

Aasimar (Agathion Blooded) Ranger (Horse Lord)10 Hinterlander 10 XP307,200

Neutral Good Medium Humanoid (Outsider, Aasimar) Perception

HP193(20D10+100)

AC40(+10Dex+4Shield+5Natural+5Deviation+6Armor)

BaB+17/12/7 CMB+21 CMD+41

Tay Twinned Piercer+33/28/23 1D8+9 Living steel longspear+24/19/14 1D8+7

FORT+20 REFL+25 WILL+16

Racial traits: Outsider, +2 to Handle animal and Survival, 1/day Summon nature’s ally II CL16, Deer horns, Celestial resistances 5 (acid, cold, electric), Darkvision 60ft.

Traits: Naive, Speech of the wilds(Draconic)

Class abilities: Favored enemies(Undead, Illagers, Orcs), Combat style feats(Mounted archery, Sprinted charge, Mounted skirmisher), Endurance, Favored terrains(Water, Underground), Hunter's bond(Horse), Woodland stride, Swift tracker, Evasion, Favored enemy+4(Aberrations, Monstrous humanoids), Fast movement, Favored terrain(Hinterland)+4, Master archer(Rapid shot, Manyshot, Shot on the run), Hinterland stride, Chosen kin 60ft, Defended earth+4, Imbue arrow, Waymarker travel.

STR18 DEX30 CON20 INT16 WIS16 CHA12

Feats: Weapon focus(longbow), Mounted archery, Craft wondrous items, Brew potions, Vital strike, Improved vital strike, Endurance, Point blank shot, Precise shot, Divine interference.

Skills: Climb+13, Craft(Stone and metal)+26, Escape artist+18, Handle animal+26, Heal+11, Knowledge (Dungeon)+11, (Geography)+26, (Nature)+16, (Religion)+11, Perception+26, Profession(Engineer)+16, Ride+23, Spellcraft+11, Stealth+23, Survival+18, Swim+17.

Languages: Common, Celestial, Sylvan.

SpellcastingCL16 DC13 Spells per day 5/4/4/2

Equipment: Vigilant mithral padded armor+5 of Greater fire energy resistance, Darkwood shield+2, Necklace of natural armor+5, Ring of protection+5, Tay twinned piercer(Composite STR+4 longbow+5 with the Bane property against: Dragons, Constructs, Aberrations and Monstrous humanoids), 50+5 Arrows, Living steel returning long spear+3, Belt of physical perfection+6, Cloak of resistance+5, Bracers of archery(Greater), Headband of mental Prowess(INT WIS Geography), Boots of speed, Shadow falconeer’s glove, Ring of sacred mistletoe, Manual of quickness of action+5(used), Wand of cure critical wounds, Handy haversack, Ranger kit, Potions(2 Cure critical wounds, 2 Invisibility), Leather helmet shaped like Jack o’ Lantern pumpkin(worth 100GP), 20GP.

TAYLOR - Animal Companion - Deathtouched Horse

Initiative+4 Speed 50ft

HP8d8+32(64) AC29(+8Natural+2Dex+10Armor-1Size) Attacks: Hooves 1D6+4 Bite 1D4+4.

Racial: Low-light vision, Darkvision 60ft, Scent.

Class: Improved evasion, Ability score increase (+2Str +2 Dex +1 Wis), Multiattack, Dead sight, +4 vs trip CMD, Negative energy affinity, One foot in the grave.

Str 18 Dex 14 Con 18 Int 2 Wis 12 Cha 6 BaB9 Saves +7/5/3

Feats: Armor proficiency x3 (light, medium, heavy).

Skills: Perception+12, Survival+10, Swim+12

Tricks: Guard, Attack, Defend, Seek, Work, Fetch, Down, Come, Charge.

Equipment: Horsemaster’s saddle, Horseshoes of a zephyr, Greenwood banded mail barding+3 of fire resistance, Steadfast gutstone, Bit and bridle, Military saddle with bags and 10 rations.

Background: GeminiTay also known as Gem is a gentle, kind and nature-loving member of the inhabitants of the far land known for his Hermits. She has a passion for nature, hence her constructions are often green and full of animals. Gem was decorating her house and garden like any other day waiting for an eventual prank of the other Hermits (which she likes); suddenly she heard a voice calling upon her: “Your friends are in danger.” She stopped. “Who? Impulse, is that you?” No one was around, she searched all the surrounding area but no one was found. “Young girl, your friends are in danger, you can save them but to reach them you are going to need my help.” Gem was stunned “In danger?! Impulse! Pearl! Grian! Mumbo! Scar! ……!” She kept yelling their names as she was rushing toward their homes. No one answered. She went to the various farms and structures… No one was there. She was ALONE. “Oh, dear! where are the others?! What have you done?” She shouted. “I did nothing, some were tricked, some accepted a mission, some answered a greater call. I offer the latter. Help me so i can save your friends.” Gem was skeptical but the alternative was being TRULY alone knowing that the others were god knows where. “Ok, but you need to explain…!” She couldn’t finish the sentence as the world changed around her and she was on her trusty skeletal horse equipped with new items close to a village under attack from a group of Illagers. “First, extinguish the flames of conquest. Then come find me. I will wait where the land is truly green.” Gem looked at the village in flames and the vandals hitting the doors with axes. “And they say women thinks too much…!” And she spurred her horse nocking in the first arrow.

I DO NOT OWN THESE IMAGES, BELOW ARE THE LINKS TO WHERE I FOUND THEM:

[nightbunnysong]

in what ways has living in Italy and being really interested in the local folklore and geography influenced you?

First of all, the culture of food. In Italy is not just about eating, it’s a communal experience that binds people together. Meals are events where families and friends gather, not just to share food, but to share life. There’s a deep appreciation for the quality and origin of ingredients, often sourced locally, reflecting a respect for the land and its produce. This culture of food has taught me the importance of community, of taking time to savor not just the flavors on the plate but the company around the table. It’s a reminder of how integral these connections are to the Italian way of life.

This sense of community extends beyond the dinner table to the love for family and the instinct to help others. In Italy, family is the cornerstone of life. The bonds within a family are strong and enduring, providing a support system that is both comforting and empowering. Growing up in this environment, I’ve learned the value of helping those around me, of being there for others in a way that is genuine and heartfelt. It’s a part of the culture that instills a sense of responsibility not just towards family, but towards the broader community. This has fostered in me a positive, sunny disposition, one that is optimistic yet also proud and competitive in a healthy way. There’s a deep-seated pride in being Italian, in belonging to a culture that is rich in history, art, and tradition. This pride fuels a competitive spirit that’s more about striving for excellence than about rivalry, pushing me to be the best version of myself while celebrating the successes of others.

Living near the Alps brings another dimension to my identity, one that is distinctly different from Italians who grow up in big cities or in the southern parts of the country. The geography of the Alps, with its towering peaks and serene valleys, shapes not only the landscape but the people who live there. Life in the mountains is more attuned to nature, with a slower, more reflective pace. The changing seasons are felt deeply, each one bringing its own rhythm and rituals. This connection to nature, fostered by the local folklore, has taught me to respect the natural world and to live in harmony with it. Folklore here is not just stories, it’s a living, breathing part of everyday life that links past and present, people and place.

The local cuisine reflects this unique geographical setting. It’s different from the broader Italian cuisine, more rustic and hearty, suited to the colder climate and the demands of mountain life. The food here is a reflection of the land itself—simple, honest, and deeply satisfying. It’s another way in which the local culture connects people to their environment, to the seasons, and to each other.

The traditions and costumes of the Alpine valleys further deepen this connection. These customs, often passed down through generations, blend folklore, religion, and community in a way that’s both sacred and celebratory. They are a testament to the enduring spirit of the people who live here, a way of keeping the past alive while also adapting to the present. Participating in these traditions brings a sense of continuity and belonging, a feeling that I am part of something much larger than myself.

[some photos are mine, some from the internet]

[hauntedgardenking]

In the grayness of whisky-pitched hip swing

I’ll no longer lull about; a tetrahedron widened

From forever and a day I’m still singing lord

For only the soles of my feet know geography

Sacred geometry inside of some 2014 hope

And I’ve had ample time to pray all temples

Crest the river banks and chorus of frogs

I’ve idolized my illiteracy and sank in dope

Junkies and thieves knew how to do the twist

The nostalgia of damp farmhouse air

Stings my nostrils as much as the poppy fields

We’d lay around in, hand in hand

[horizoncountdown]

For those that are curious, this is the Real World Horizon location map that Count uses, done by jesuscuervo on Reddit.

See under the cut for more information.

Real World Horizon Map (Speculative)

The Embrace proper is just the valleys and lakes between Pike’s Peak and Cheyenne Mountain, the core of the Nora Territory. Here, I placed each village in a valley respective to the location of Cheyenne Mountain but moved a few things around so it would not be too crowded.

The Outer Sacred Lands – outside the Embrace proper – contain several outcast camps. I had the Nora Territory expand across the Grand Mesa and Gunnison National Forest. Brom’s Camp is located over the Black Canyon of the Gunnison as it is depicted in-game, while Rost’s Hovel and Grata’s Camp are located on the hills/mountains closer to the Embrace.

Valleymeet; the neutral land between The Sacred Lands and the Carja Sundom is based on Maroon Bells, CO in-game. However, I mapped it out to include all of the White River National Forest within Valleymeet.

Hunter’s Gathering the main settlement in Valleymeet would likely be would be located on the Roaring Fork Valley near Woody Creek. That is the largest open valley in the area and the path through which the present-day CO-82 passes could work as a main throughway between the Nora and Carja lands.

Shivering Watch, following CO-82 the mountains narrow into a canyon south of Glenwood Springs (not Glenwood Canyon). The canyon acts as the chokepoint and border between the formerly Nora lands and the Carja Sundom where Shivering Watch and The Daytower are located.

Two Teeth Camp is depicted as being on Maroon Peak in-game. However, it is built over the ruins of the Smuggler-Union Hydroelectric Plant, which is further south in Telluride, CO. I kept Two-Teeth in the southern location so it acts as a second buffer between the Sacred Lands and the Sundom.

The Carja Sundom; is where the game took the greatest artistic liberty. The game depicts the heartland of the Carja Sundom south of the Colorado River (Lake Powell specifically); however the real-world locations depicted within The Sundom, the area its geography is based on (Eagle Canyon, Arches, and Canyonlands National Parks), and the route Alloy travels through suggests the Sundom is actually located north of the Colorado River in the real world. Thus rather than having the Sundom’s heartland located in the Colorado Mesa, it would make more sense to place it in the already fertile Price and Green River Valleys in Utah. This way I was able to keep Meridian in Eagle Canyon and Sunfall in Bryce Canyon. Thus Sunfall is actually southwest rather than northwest of Meridian. The Carja Sundom would extend across most of the Western Slope in Colorado into most of eastern and southern Utah. With Shatter Kiln (Provo) as its northernmost boundary.

The Sun-Steps – are the first region of the Sundom that Alloy encounters on her journey. In-game it stretches from Arches National Park to what appears to be Horseshoe Bend. However, Horseshoe Bend is too far south for it to make sense as the border, so I have Morning Watch located further north on another bend. Since river bends can form anywhere it is not a stretch to think there is a new bend somewhere else. Over all the Sun-Steps correspond to the Grand Valley in CO.

Free Heap – located within the Sun Steps is Free Heap, an Oseram outpost set up to provide construction material for Meridian. If they are mining for industrial materials from the Old Ones, it would make the most sense for Free Heap to be located on or near Grand Junction CO, which is the largest settlement in the area today.

Gatelands – form the eastern half of the central Carja Sundom. Unlike the rest of the Sundom, this region is relatively easy to map out since most locations have an obvious real-world reference corresponding to Arches and Canyonlands National Parks.

Lone Light had to be relocated since Horseshoe Bend is much further downriver in reality. I placed it in a smaller bend upriver.

Gatelands Bandit Camp - I depicted the Bandint Camps as neutral/independent enclaves within the Sundom, the Gatelands Camp being the largest one of these and corresponding to the entirety of Arches National Park.

The Jewel – the central heartland of the Carja Sundom appears to be based on Monument Valley in present-day Utah and Arizona. However this location would be rather out of the way from Aloy’s journey and it doesn’t fit some of the locations depicted within the Jewel itself (mainly Meridian, which is located in Eagle Canyon). Thus, I thought it made more sense for it to be centered on the eastern Green River Basin along the present-day Carbon, Emery, and Wayne counties. This way Meridian remains in Eagle Canyon and the Spurflints in the San Rafael Reef. The Spearshafts would be a new formation (not present today) somewhere in Canyonlands National Park.

Rustwatch – in-game the Shadow Carja territory is north of the Jewel across from Daybrink (Lake Powell), however since The Jewel is no longer located south of the Lake, Rustwatch and Sunfall are now southeast of the Carja heartland. But Sunfall keeps its location in Bryce Canyon.

The Southern Frontier – in-game Kestrel’s Perch is defined as a fortress built by the fifth Sun King Zavarad as the Sundom expanded north of Daybrink (Lake Powell) into Rustwatch. However because in the real world, Lake Powell is south of what I’ve defined as the Carja heartland, this frontier is now south of Daybrink and Rustwatch.

The Mountain Frontier – Call of the Mountain doesn’t really give many references on where Rising Light and the main route of the game are located, except that it is mountainous and – for the most part – densely wooded. So I opted for the Sundom to have a “Mountain Frontier” along the Wasatch Range. Because the world of Horizon is likely set in a warmer and wetter Earth (due to rising sea levels), the Bonneville and Lahontan Great Lakes have been resurrected east of this range. The former of these acts as The Sundom’s western border and provides the precipitation and rainfall necessary to create forests and jungles in the Colorado Plateau.

Shattered Kiln – a bandit camp near the northern reaches of the Sundom, as in-game it is based on Provo Utah near Maker’s End (Salt Lake City).

The Daunt; the southwestern corner of the Carja Sundom corresponds to Zion National Park. However, Zion is relatively small to fit all the in-game locations. In-game, Zion National Park appears to be the same size as the entirety of Southern Nevada or the California Central Valley. To fit everything in, I extended The Daunt to include the entire Virgin River Basin in Washington County Utah.

Barren Light would then be located with St George, Utah where the Virgin River (and the I-15) cross Bloomington Hills.

Chainscrape and the Redhew Quarry, the Oseram settlement within the Daunt is located along a bit upriver from Barren Light.

The Claim; the Oseram territory is not depicted in-game, however, Pitch Cliff and Free Heap are two Oseram settlements near their border with the Carja Sundom. It is stated that their territory is north of The Sundom and west of The Cut, so it likely corresponds to Idaho, specifically the Snake River Basin.

Pitch Cliff is likely located along the Roan Cliffs, and possibly very near the border between the Claim and the Sundom.

The lands between The Long Roam, the Claim, and the Carja Sundom form an unclaimed region around the present-day Uintah Basin. Oseram traders travel through it and the Carja might have sent some raiders across it, but it remains mostly unpopulated. I shaded this area pink as the Carja might claim it but likely hold no direct control.

No Man’s Land - is the border between the Carja Sundom and the Tenakth Clanlands. No Man’s Land borders are not well defined in-game, but they seem to correspond to the northern shore of Lake Mead, specifically the area around the Overton Arm where the Virgin River meets the Lake. The overall location works for a real-world equivalent, but a few things get shuffled around for them to fit.

Jagged Deep; the eastern bank of the Virgin River was tenuously controlled by the Carja Sundom. What remains is Riverwatch, an abandoned fort on the banks of the Overton Arm, and Jagged Deep an abandoned mine that is now delved by Oseram adventurers. The Carja Camp on the west bank of the Overton Arm is the furthest west Carja settlement.

Eastern Lie & Deadfalls are the westernmost Tenakth settlements closest to the Cajra and Utaru borders, which have been taken by Regalla’s Rebels. In fact, most of the Tenakth side of No Man’s Land is occupied by the rebels.

Spinebreak; in-game Spinebreak is located on the southeastern border between No-Man’s Land and the Tenakth Clanlands proper and built under the ruins of a present-day highway tunnel. The issue is that there are no tunnels – or logical places to put a tunnel – between the Overton Arm and Las Vegas (the Stillsands). I thus place Spinebreak further north on the Virgin River Canyon acting as a second border between Barren Light and the Tenakth camps.

The Utaru Tribal Lands; the Utaru settled in the lands surrounding the Western Grand Array (WGA), which they named Plainsong.

Plainsong, although the WGA is based on the Very Large Array in New Mexico, the VLA is very far from Aloy’s path and the in-game geography. Furthermore just like the Nora take their name from the NORAD Facility and the Tenakth take their name from the Tenth Task Force, I suspect the Utaru take their name from Utah. Thus it is likely that the WGA is not the VLA but rather a new array built somewhere in Southern Utah, between the Carja Sundom and the Desert Clans. With this in mind, I placed Plainsong on the Cedar Valley and worked from there.

Stone’s Echo – Stone’s Echo is an Utaru outpost near the Stillsands, just past No Man’s Land. I placed it along the Meadow Valley Wash, which would likely be a tad more fertile than in the present day. Because we are dealing with what I expect is a warmer and wetter climate due to rising sea levels (and AETHER’s supercell storms going haywire).

Riverhymn – On the northern edge of the Utaru lands lies Riverhymn; the second largest Utaru settlement after Plainsong. In-game it is located in a fairly mountainous corner. So it is likely located near Frisco Peak with the river that passes through it being the Beaver River. However this river flows in the opposite direction that is seen in-game, rather than flowing south towards Plainsong, it flows north into the Sevier Lake.

·Due to the wetter climate, it is possible that the entire Bonneville Basin is once again flooded and Lake Bonneville acts as a boundary between the Utaru, the Carja, the Oseram, and Tenakth Desert Clans but the game map does not go that far north. Regardless I thought it be cool so I opted to depict it as such.

Tenakth Desert Clans; the Desert Clans inhabit most of Southern Nevada. Their territory reaches the present-day Great Basin National Park in the northeast and the Shining Wastes (Death Valley National Park) to the West.

The Stillsands; southwest of the Utaru territory, is another semi-contested region (it is within the Tenakth Desert Clan territory but both major settlement Camp Nowhere and Hidden Ember are Oseram). This is pretty simple since it corresponds to Clark County NV, with Hidden Ember clearly being Las Vegas. I originally had Devil’s Grasp be located in Barstow CA, but opted to place it closer to Las Vegas in Primm.

Dry Yearn; is the easternmost region of the Clanlands. It contains Arrowhand, the second largest Desert Clan settlement, and Restless Weald. It is fairly easy to place since Restless Weald is based in Caliente, NV. With this in mind, I placed Arrowhand over Crystal Springs, NV, and the Dry Yearn Camp just north of Restless Weald.

The Greenswell; is the northernmost region of the Desert Clanlands; it is also the least arid region of the Desert Clans. Part of this can be attributed to the supercell storms, but I also opted to have the core of the territory within the Great Basin National Park, which is a very green area within the Nevada desert, which further explains the area’s climate.

Scalding Spear; centrally located in the Nevada desert, the capital of the Desert Clans is located on the present-day Crescent Dunes Solar Energy Project.

Shining Wastes; is an arid mostly flat expanse of land, which for the most part corresponds to Death Valley National Park. The only problem is that Death Valley is not particularly flat. I included Death Valley, now filled in with a saline lake, within the Shining Wastes but placed the main settlements located further north within the Nevada Desert (which is mostly flat).

Runner’s Wild – a small region in the Desert Clan territory, Runner’s Wild corresponds to Mammoth Lakes in California and acts as a border between the Desert and Sky Clans.

Salt Bite – north of Runner’s Wild this region borders Runner’s Wild and the Greenswell, it is clearly based on Mono Lake in California and the geography easily fits into this location.

Memorial Grove; although the Tenakth are divided into three warring Clans (and Regalla’s Rebels), the Memorial Grove acts as a capital / neutral ground for all three. The Grove is located on a museum and military base – specifically an airforce base – south of Mono Lake. The base does not exist in the present day but could be located anywhere in the Owens Valley. I paced it on Independence, CA (fitting name). Like other areas on the map, the Owens Valley is also much more fertile than in the current day.

Tenakth Sky Clans; northwest of the Memorial Grove the Sky Clans make their home along the Sierra Nevada, specifically Yosemite Valley and the Sierra National Forrest. Not many changes here, but it doesn’t seem like their territory expands much further north than Lake Tahoe (unless it is not depicted).

The Bulwark; the capital of the Skyclans is based on Sentinel Dome in Yosemite Valley, I kept it here and based the rest around it.

Sheerside Mountains; are based on the Sierra Nevada, the region itself corresponds to the northern half of the Sky Clans’ territory. I took Sheerside Climb to be the pass from Mammoth Lakes to Yosemite and assumed Bonewhite Tear and the other settlements would be located along CA Route 120 and the Tuolumne River.

Stand of the Sentinels the southern region of the Sky Clans appears to be based off the Sierra National Forest. Its major settlements follow a pass from Mammoth Lakes to Tide’s Reach (possibly Fresno CA, see below). This suggests that the major settlements are located along the San Joaquin River.

Tenakth Lowland Clans; like the Carja Sundom, the Lowland Clans pose a huge conundrum. The Lowlands seem to consist of the foothills of the Sierras along Kings Canyon National Park and the Sequoia National Forrest towards a coast. This suggests that California’s Central Valley is flooded due to rising sea levels. If this is the case it helps explain why The Long Coast (Bakersfield) is a coast and not inland.However, if this were the case there should be a long peninsula formed from California's Coastal Ranges. But this peninsula is completely absent from the in-game map. Furthermore, Tide’s Reach appears to be based in Oakland, but it is geographically located at the foothills of the Sierra National Forrest. This should be impossible; Oakland would be located on the aforementioned “peninsula” between San Francisco Bay and the “Central Valley Sea”, but this peninsula is nowhere to be found on the map.

I tried my best to come up with a creative solution.

Raintrace – as in-game Raintrace is based on Sequoia National Forrest, Lowland Path and Fall’s Edge are located along CA Route 180 and King’s Canyon, which provide a direct route from the Memorial Grove to the rest of the Lowland Clans’ territory. Fenrise is further south on Isabella Lake where the Kern River valley provides a connection between the Desert Clans and Lowland Clans’ territories.

Tide Reach – I relocated Tide’s Reach to Fresno, CA which is now along the coast of the “Central Valley Sea”. I opted to have it based on Fresno since it provides another large present-day settlement where to base it, and more importantly, it is directly on the path Alloy would take from Stand of the Sentinels. Since Alloy can’t swim from Tide’s Reach to the Isle of Spires (San Francisco) it makes sense to place it further away from the island than Oakland. SF Bay is large, but not large enough for there to be a storm that wrecks Alloy’s raft. To make the route Alloy takes a bit more logical I also broke up the Coastal Ranges north of the Salinas River into an archipelago. I considered sinking the entirety of the Mt Diablo Range, to provide a direct route from Tide’s Reach to the Island, but I thought that would be too much.

The Long Coast – in-game The Long Coast seems to refer to the Pacific Coast, but as already mentioned it also refers to the ruins of Bakersfield CA. Thankfully a flooded Central Valley means we’ve gained a new coast. Thus the Long Coast now refers to the western coast of this inland sea. Thornmash, in-game coordinates suggest it is located near Tracy, CA. but I placed it a little further south on this coast so it forms a triangle with Tide’s Rach and Raintrace Rise and so it is not too close to San Francisco.

Cliffs of the Cry – as in-game the Cliffs correspond to Big Sur and the California Pacific Coast. I opted to have Raintrace West located on the Cliffs (close to San Luis Obispo) since you travel from it to the Zennith Base.

Isle of Spires; is straightforward San Francisco, which is now an island. Alva describes San Francisco as an archipelago, so this helped me further justify the breakup of the Coastal Ranges. Although I realize that such geologic shifts would likely destroy the city of San Francisco itself. This is the suspension of disbelief in a world that has a volcano appear on Yellowstone and New Zealand sink beneath the waves.

Zenith Base; originally I thought about having it located in Monterey however it is south of Tilda’s Mansion, which is in Big Sur. It then seemed fitting to place the Zenith Base in Vandenberg Airforce Base instead.

The Burning Shores; it is LA, which like San Francisco is now an archipelago due to tectonic activity and rising sea levels. This is pretty much explained in-game.

Fleet’s End is located somewhere in the Baldwin Hills, which are now the main island of the “bay”

Pangea Park / Londra Productions is described as being on a peninsula. Because it is partially based on Dinseyland (or Universal Studios) I’ve opted to keep it in Anaheim. To make Anaheim a peninsula I’ve flooded the San Gabriel Valley in the north and Newport Beach in the south.

[talonabraxas]

Amitabha “Infinite Light” Talon Abraxas

Amitabha Buddha | Amitayus

The great savior Buddha is known as Amitabha (Sanskrit: “Infinite Light”), also known as Amitayus (“Infinite Life”), Japanese Amida, and Chinese Emituo Fo in Mahayana Buddhism, particularly in the so-called Pure Land sects. According to the Sukhavati-vyuha-sutras, which serve as the foundational texts for the Pure Land sects, a monk by the name of Dharmakara took several vows, the 18th of which stated that upon his attaining Buddhahood, all who had faith in him and invoked his name would be reborn in his paradise and would live there in bliss until they attained enlightenment. Dharmakara ruled as the Buddha Amitabha in the Western Paradise, also known as Sukhavati, the Pure Land, after fulfilling his vows.

In 650 CE, Amitabha’s devotion emerged in China. From there, it went to Japan, where it resulted in the establishment of the Pure Land school and the Real Pure Land school, both of which still have significant followings today. The late Heian era raig paintings of Japan depict Amitabha’s Pure Land and Amitabha descending to welcome the recently deceased in a beautiful way (897–1185).

In Tibet and Nepal, Amitabha is revered as one of the five “self-born” buddhas (dhyani-buddhas) who have existed eternally. Amitabha was never as well-known as a savior figure there as he was in East Asia. In accordance with this theory, he appeared as both the bodhisattva (“buddha-to-be”) Avalokiteshvara and the historical Buddha Gotama. His color is red, his posture is one of meditation (dhyana-mudra), his symbol is a begging bowl, his mount is a peacock, his consort is Pandara, his family is Raga, his element is water, his sacred sound is “ba” or “ah,” his skandha (element of existence) is taste, his sense organ is the tongue, and his place in the body is the mouth.

Amitabha is referred to as Amitayus, or “Infinite Life,” since he bestows a long life. While the two names are frequently used interchangeably in China and Japan, the two forms are never confused in Tibet, where Amitayus is revered in a specific rite in order to live a long life. He is shown holding the ambrosia vase from which the jewels of eternal life spill while sporting ornaments, a crown, and other accessories.

Amitabha Buddha, also known as Amitayus or Amituofo, is a central figure in Mahayana Buddhism. He is considered one of the Five Dhyani Buddhas, along with Akshobhya, Ratnasambhava, Amoghasiddhi, and Vairochana. Amitabha is revered as the Buddha of Infinite Light and Infinite Life. He is believed to have created the Pure Land, a realm of perfect bliss and enlightenment, where beings can be reborn through the power of his grace and merit. This

Pure Land is known as Sukhavati or Dewachen.

The Pure Land tradition of Buddhism is particularly popular in China, Japan, and Korea, where it is known as Jodo, Jodo Shinshu, and Cheontae, respectively. Followers of the Pure Land tradition believe that by chanting Amitabha’s name, they can generate the necessary merit to be reborn in his Pure Land and attain enlightenment.

The name Amitabha means “Infinite Light,” and his image is often depicted with a halo of radiant light surrounding his head. He is also commonly depicted holding a vase, representing the nectar of immortality, and a lotus flower, symbolizing the purity of the Buddha’s teachings. Amitabha’s importance in Mahayana Buddhism is reflected in the fact that he is the focus of numerous sutras and texts, including the Amitabha Sutra and the Infinite Life Sutra. These texts describe the Pure Land in detail, including its geography, inhabitants, and the benefits of being reborn there.

In addition to his role as the Buddha of Infinite Light and Infinite Life, Amitabha is also regarded as a bodhisattva, a being who has chosen to postpone their own enlightenment in order to help others attain liberation from suffering. As such, he is often depicted surrounded by other bodhisattvas, including Avalokiteshvara, the bodhisattva of compassion, and Mahasthamaprapta, the bodhisattva of wisdom.

Overall, Amitabha Buddha is an important figure in Mahayana Buddhism, particularly in the Pure Land tradition. His teachings and his Pure Land offer a path to liberation and enlightenment for those who seek it.

Amitabha mantra

(Om Amideva Hrih)

[faun-the-hound]

fantasy geography lesson anyone?

Nah, not really, but:

I've referenced a place called 'Sun's Heart' a few times talking about Daybreak without actually fully explaining what it is, so here's that.

The short answer: it's the birthplace of the Relics, death place of the Gods and the final resting place of Irene.

The Long answer:

Ru'aun is literally the centre of the world. Every map, Ru'aun is in the middle, as it's simply the most accurate. Tu'la is to the west, Gal'ruk north-east, and a third region/continent to the south-east called An'lar. In the dead centre of Ru'aun is a vast and beautiful forest that takes up mush of the continent.

Many centuries before the first human settlers came, the Gods created the magi of Ru'aun, and the rest of the world, but they put the majority of their magical beings on their homeland. Ru'aun is the birthplace of the Primordial Gods, seven omnipotent, omniscient beings responsible for creating all life in the realm. Other Gods existed in other realms, but the seven main guys were all in what is most commonly called "the overworld" but is formally named Gaius.

In the very centre of Ru'aun was a giant, enchanted tree created of seven saplings planted at the Gods' births, having grown and twisted around themselves into one massive tree of multicoloured branches and leaves, sheltering a thriving community of faeries and elves, fuelling the Magick of the forest and fae that resided within it, keeping the whole place safe and alive.

Hyria was one of these faeries, though she lost her wings in the Fall of Sun's Heart- a cataclysmic event that ended Sun's Heart as a city. It happened suddenly, without much warning. Great swathes of wildlife, reduced to black ashes and ichor. The first invasion of The Void, killing off massive stretches of land across the continent.

The Gods did everything they could to try and fight it off, but their efforts yielded too little too late, and The Void threatened to wipe out their world. Their creations were driven to cower in Sun's Heart, beneath the shelter of their enchanted trees, where The Void couldn't reach despite trying.

The Gods came to a devastating decision- one that would save their world, but likely destroy Sun's Heart in the process. They could channel their own powers through the tree, into its roots, which spread throughout the entire continent, and although this would kill them and their home, it would save Ru'aun, and the rest of Gaius from this horrid corruption.

And so, they did just that. All of their Magick, their Divine powers flooded Ru'aun, wiping out The Void and restoring the lush, beautiful forest they created in the very beginning. When the burning light faded, seven saplings remained planted in the earth, a gaping hole in the ground covered in a miles-deep web of tangled roots of the great tree, and seven sparks of fire floating above the now black branches of the saplings.

Sun's Heart, the city, was destroyed, the people were wounded, some irreversibly so, but the Gods' sacrifice had worked. Emerging from the forest, the magi discovered that the land had been healed by their Magick.

For a time, everything was normal again.

Then the forest came back. The Sacred Forest came tearing through the earth- roots tore up roads and trees burst up overnight through homes. The foliage overgrew and tangled the bodies of those who couldn't run fast enough into its thorns.

This was the Fall of Sun's Heart, as the Sacred Forest reclaimed its land, and the seven Divine Relics were swallowed by the saplings, suddenly growing up over them and twisting back into its original tree. Sun's Heart was destroyed, left in ruins, and almost impossible to find.

The Elves found a new home, creating the enchanted Yggdrasil grove, creating a symbiotic relationship with the forest. Most of the Faerie population was wiped out, claimed by the forest in their stubborn attempts to stay in Sun's Heart.

Sun's Heart remained empty until Hyria led the Divine Warriors to it, seeking the power to fight off The Void once more. Hyria knew of the Gods' sacrifice, how their power was channelled into Relics that the elves and fae gave names over the years between the Sacrifice and Fall of Sun's Heart.

Hyria showed the Warriors to the ruins of her old home, and was struck by the beauty of it- dappled beams of sunlight between the dancing shadows cast by the canopy, babbling brooks running between cobblestones covered by layers of spongy green moss. Ferns swaying in a soft breeze, the sounds of birdsong echoing through the branches and sweet smells of wildflowers filling the air.

The trees had worn away from the power that emanated from the Divine Relics, hollows in the trunks that glowed with the light of them, growing brighter as the soon-to-be-Divine Warriors stepped closer. Each Relic seemed to claim a person on its own, two Relics drawn to Irene herself.

Hyria elected to stay in Sun's Heart, so her Divine friends would know where to find her, should the need arise. She tidied up her old home on the edge of the old city, moving in alongside the small creatures that had come to call it home. She had no quarrel with the Sacred Forest, not anymore.

She came to learn that Esmund created the Golden Roads through the forest a few years after the Divine War between the Warriors and The Empty, a series of roads carved through the forest without disturbing the nature too much, then blessed with runes and carvings to prevent anyone following them from getting lost.

Wandering off of the roads will lead you to one of two places: Yggdrasil, the hidden home of Ru'aun's high elves, like Zoey, which requires specific directions to be followed.

Or Sun's Heart, where most people who get lost in the Sacred Forest wind up. Sun's Heart has a weird... curse? Enchantment? Hyria didn't put it there, nor does she know what it is, she just knows how to avoid it, but walking in a straight line in any direction off of the Golden Roads will eventually lead you directly into Sun's Heart, where you're either killed by the creatures living there, or dragged into the bottomless pit hidden between the twisted trunks of the Gods' tree. The World Tree, I should probably call it.

Anyway, yeah. That's what Sun's Heart is.

I guess this is kind of a geography lesson, isn't it.

[chromatic-lamina]

OPLA: episode 8: pinwheels and mikan

OPLA episode 8: I assume that those who for the story is new, feel a lot more with Nami's Bellemère graveside scene—it was nice to keep the pinwheels with a tangerine motif (Nami's tattoo and the actual one she made, which Bellemère had made before for her in the live action), and I guess that the cultural significance might've been diminished if they were kept faithful to the manga, as in on Genzo's hat and more generically in front of Bellemère's grave.

When I visited Aomori, and particular Osorezan, which is on Lake Usori--Osorezan symbolising hell, and the lake, purgatory (and also having been sacred to the Ainu), pinwheels dotted the foreshore, and also many of the monuments, statues (many mizuko) and graveyard monuments to, in particular, honour children who have died (and cannot fulfil their filial duty).

picture from this post.

Kinda reversed with Nami's story, because neither Bellemère nor Nami could fulfil their obligations to one another, and I don't think Oda has ever made a big fuss of it (Genzo wore the pinwheel

cos it made Nami laugh, as I recall). According to a quick google, it represents the cycle of life. Adult to child again on death.

Mikan (tangerines, although, not really) are also often offerings for jizou statues, of which mizuko in particular look over children (not a mizuko below, and see link above). But mikan are often placed generally at grave markers and so forth.

Picture from this post.

Genzo kept his pinwheel for one scene in the live action. Even if they didn't have time to explain how important he had been to Nami and Bellemère

Would have loved to have seen it a little more.

Also, considering how important laughter and smiling is to the series as a whole, I would've liked a non-cheesy way, I guess, to emphasise how much Nami smiled when she was a child, and how important it was to Genzo that she keeps smiling, and that he knew she would, because she was free and on the right path.

Overall, though, good-ish development with Luffy and Garp. I guess, considering budget restraints, they'll try to concentrate on the two of them as a main subplot? I'm not exactly sure why they included it so early. Maybe to ground it in a bit of TV reality? Or to have a sure way of maintaining direction and tension. So the general viewer can know who Luffy is, maybe. I didn't mind, but maybe not at the expense of other parts of the story.

I did tear up at the boots on the barrel scene, although I've always thought that the crew has superb balance. Would've liked to have had the word 'nakama' included instead of 'friend', but that's for a future adaptation, I think. Helmeppo and Koby coming along swimmingly. Benn still looking like a geography teacher (sorry @nicos-robin!). Mihawk and Shanks camping it up on the beach (Lucky Roux looks well put together!). And Smoker being dramatic! Looking forward to the next season!

[erose-this-name]

Why do demons look like goatmen? Azazel is a Disney villain.

See, in this book, you might have heard of it, da Bible, God commands the Israelites to release a goat into the wild during Yom Kippur, which would symbolically take the community’s sins with it. Then they had to chase after the goat -- with refreshment stands along the path, of course -- and then throw the goat off a cliff. Like a Disney villain.

(btw, don’t let yourself be like “oh, the weird *Jews*, animal cruelty”, sacrificing animals to atone for sin was very common at the time, especially among Europeans. So it’s more like “oh, the weird Bronze Age peoples, animal cruelty”)

And that particular sacred cliff they threw the scapegoats down is called ‘Azazel’. Thanks to Gentiles who don’t have background knowledge about Israelite geography misunderstanding this Bible passage, Azazel is now also the name of the angel who receives the sacrifice of said scapegoats. And, he’s a cherub!

Azazel then appears prominently in the extremely influential apocryphal Book of Enoch, where he is said to have become a fallen angel because he shared corrupting forbidden knowledge with mankind. Namely, the VERY EVIL dark arts of metallurgy and cosmetics(?). Also, he taught people how to fight wars and do magic tricks and had sex with human women. He then gets blamed for everything, and Archangel Raphael throws him down a hole in the fabric of reality, mirroring a scapegoat off a cliff. 

He then became a pretty popular stock fallen angel character. In the apocryphal Apocalypse of Abraham, Azazel transforms into a sacrificed-animal-eating pigeon (sic. "unclean bird") that taunts Abraham then gets told off by an angel.

In Islamic mythology, Azazil actually becomes THE big bad, taking the role of Satan/Lucifer, and who before his fall was the general of Heaven’s army, and just casually conquered the entire Earth in a genocidal war against a kingdom of world order proto-genies ruled by a king genie literally named King Genie McGenieson (Jann ibn Jann), because Allah decided that humans should rule Earth instead (the genies were sodomites). There are now fewer genies. Also, Azazil is supposed to be the ancestor of all genies, so that’s some next level prioritizing-work-over-family right there.

But of course, Azazel’s most famous and religiously significant depiction is as a genderswaped naive angel girl love interest / DLC antagonist in critically acclaimed anime rhythm game Helltaker. None of these words are in the Bible (except for Azazel, which is).

“So, is that why stereotypical demons like Baphomet look like goatmen”, you ask? “Because popular fallen angel Azazel is associated with scapegoats?” Well, he is associated with goats, but no. I just wanted to talk about Azazel.

It’s because early Greco-Roman Christians decided that those mythical satyrs (goat people) were actually just demons all along! So they just copy-pasted all the old myths of drunken satyrs in the forest and put them into Hell. Your idea of a stereotypical demon is actually just a badly sunburned satyr with a big fork.

Sexy satyr statue for reference (technically it's Pan but close enough). Now imagine him, but more red.

Yeah. Now you know!

[gayleonofcuy]

Writing Lessons from ASOIAF

The last night fell black and moonless, but for once the sky was clear. "I am going up the hill to look for Ghost," he told the Thenns at the cave mouth, and they grunted and let him pass.

So many stars, he thought as he trudged up the slope through pines and firs and ash. Maester Luwin had taught him his stars as a boy in Winterfell; he had learned the names of the twelve houses of heaven and the rulers of each; he could find the seven wanderers sacred to the Faith; he was old friends with the Ice Dragon, the Shadowcat, the Moonmaid, and the Sword of the Morning. All those he shared with Ygritte, but not some of the others. We look up at the same stars, and see such different things. The King's Crown was the Cradle, to hear her tell it; the Stallion was the Horned Lord; the red wanderer that septons preached was sacred to their Smith up here was called the Thief. And when the Thief was in the Moonmaid, that was a propitious time for a man to steal a woman, Ygritte insisted. "Like the night you stole me. The Thief was bright that night."

-Jon, ASoS

I have this passage marked as 'writing inspiration' and wanted to share why I like it, if (like me) you are an ASOIAF fan and struggling aspiring writer. GRRM does a few things in this passage that I think are helpful 'advice.'

Exposition: When people criticize bad books not set in our world (or even mediocre books that could be better), one of the most common complaints is clunky exposition or info dumping, especially in the first few chapters of the novel.

Here, GRRM is expositing in a way that adds depth and richness to Westerosi and Freefolk societies. Jon lists the stars by talking about his childhood (which we already care about) and compares and contrasts his names with the names by which Ygritte knows them. This is more retainable and interesting for readers than if he had simply looked up at the sky and listed them for us.

Importantly, we are three books into the series, but we are still learning about the world. Everything hasn't been told to us already.

Lesson: Find memorable ways to show your worldbuilding. And you don't need to show everything in the first few chapters.

Cultural similarities: By this point, we've learned that the Freefolk are descendants of the First Men who were kicked on the worse side of the wall. This is one way of reinforcing the point, by having them share names for 'universal' things like stars.

Cultural differences: The influence of the Andals' religion on the common tongue, even among the First Men, is obvious here with the star named the Smith. But the passage is also pointing out at least a couple of other differences between their geographies and cultures.

1. The Fauna of Beyond-the-Wall: At the beginning of ASOS, Chett's prologue notes

It was a rare thing to find even a dozen mounted wildlings, and five hundred...

One of the advantages that the Rangers have over the Freefolk is their properly armed and armored warriors, but it seems clear that horses is another. Jon mentions that most of the people in the column are traveling by foot.

And even more telling, only one in a hundred wildlings was mounted. The Old Bear will go through them like an axe through porridge.

Stallions, while important in both cultures, are perhaps less important to lay people beyond the wall. At the very least, they're not important or perhaps relevant enough to the common person to merit the name of a star. The King's Crown also falls in this category, obviously.

2. The importance of thieving in Freefolk culture: The harshness of the North, especially during winter, has been established many times. This is magnified north of the wall, which is colder and more brutal. Aside from climate, a big reason is because they lack regular commerce with the rest of the Seven Kingdoms due to the Wall. They can't exactly show up to the Vale to buy grain during hard times.

Thus the Freefolk have had to become necessary thieves, and thieving has in turn been raised to a point of respect or reverence, even extending to their courting or mating customs.

We don't know at this point, whether stealing women was part of First Men culture that the Northerners gradually discarded. But, I think we can say that part of the reason the Freefolk have elevated stealing to a virtue is because it's so necessary. Thieves are needed for luxuries, like silks, wine, spices and so on. But they're also crucial for survival, by taking weapons and perhaps food and goods that you can eat or trade for food during their harsh winters.

So the Thief is great name for a major star in their culture, in the way that Jupiter was in western European culture.

Movement: We learn later that Jon is (brooding) on a hill near the wall, a long ways away from The Fist of the First Men where we saw him last. The end of the passage also sets up Jon describing the beginning of his physical relationship with Ygritte, but he does this in post. There is no 'and the next day, and the next day' until we get to the meat (heh) which is the instinct of many newbie writers. We have arrived here without tedious descriptions of progress, while also covering a lot of physical, emotional and narrative ground.