#and then they KILLED THE INDIGENOUS SPIRIT

[shih-coulda-had-it]

my sister and i made a book bingo for 2024 and one of the categories she chose was romantasy and i rarely, rarely do this, but i MUST tell you that my pick for romantasy (a far wilder magic by allison saft) has me looking up one-star reviews on goodreads to validate my feelings.

[underwaterspiderbird]

never before have i genuinely wanted to kill an animated wolf as much as i do Death from Puss in Boots II

[3liza]

https://nationalpost.com/news/canada/theyre-not-human-how-19th-century-inuit-coped-with-a-real-life-invasion-of-the-walking-dead

Indigenous groups across the Americas had all encountered Europeans differently. But where other coastal groups such as the Haida or the Mi’kmaq had met white men who were well-fed and well-dressed, the Inuit frequently encountered their future colonizers as small parties on the edge of death.

“I’m sure it terrified people,” said Eber, 91, speaking to the National Post by phone from her Toronto home.

And it’s why, as many as six generations after the events of the Franklin Expedition, Eber was meeting Inuit still raised on stories of the two giant ships that came to the Arctic and discharged columns of death onto the ice.

Inuit nomads had come across streams of men that “didn’t seem to be right.” Maddened by scurvy, botulism or desperation, they were raving in a language the Inuit couldn’t understand. In one case, hunters came across two Franklin Expedition survivors who had been sleeping for days in the hollowed-out corpses of seals.

“They were unrecognizable they were so dirty,” Lena Kingmiatook, a resident of Taloyoak, told Eber.

Mark Tootiak, a stepson of Nicholas Qayutinuaq, related a story to Eber of a group of Inuit who had an early encounter with a small and “hairy” group of Franklin Expedition men evacuating south.

“Later … these Inuit heard that people had seen more white people, a lot more white people, dying,” he said. “They were seen carrying human meat.”

Even Eber’s translator, the late Tommy Anguttitauruq, recounted a goose hunting trip in which he had stumbled upon a Franklin Expedition skeleton still carrying a clay pipe.

By 1850, coves and beaches around King William Island were littered with the disturbing remnants of their advance: Scraps of clothing and camps still littered with their dead occupants. Decades later, researchers would confirm the Inuit accounts of cannibalism when they found bleached human bones with their flesh hacked clean.

“I’ve never in all my life seen any kind of spirit — I’ve heard the sounds they make, but I’ve never seen them with my own eyes,” said the old man who had gone out to investigate the Franklin survivors who had straggled into his camp that day on King William Island.

The figures’ skin was cold but it was not “cold as a fish,” concluded the man. Therefore, he reasoned, they were probably alive.

“They were beings but not Inuit,” he said, according to the account by shaman Nicholas Qayutinuaq.

The figures were too weak to be dangerous, so Inuit women tried to comfort the strangers by inviting them into their igloo.

But close contact only increased their alienness: The men were timid, untalkative and — despite their obvious starvation — they refused to eat.

The men spit out pieces of cooked seal offered to them. They rejected offers of soup. They grabbed jealous hold of their belongings when the Inuit offered to trade.

When the Inuit men returned to the camp from their hunt, they constructed an igloo for the strangers, built them a fire and even outfitted the shelter with three whole seals.

Then, after the white men had gone to sleep, the Inuit quickly packed up their belongings and fled by moonlight.

Whether the pale-skinned visitors were qallunaat or “Indians” — the group determined that staying too long around these “strange people” with iron knives could get them all killed.

“That night they got all their belongings together and took off towards the southwest,” Qayutinuaq told Dorothy Eber.

But the true horror of the encounter wouldn’t be revealed until several months later.

The Inuit had left in such a hurry that they had abandoned several belongings. When a small party went back to the camp to retrieve them, they found an igloo filled with corpses.

The seals were untouched. Instead, the men had eaten each other.

[spiritfeelingscriggles]

A message for you from the creator ✉

The simple knowing that permeates through all ancient teachings can be summarised as : if it IS. Then it ALWAYS was. If it always was. Then the creator made it so. The creator makes no mistakes. So, if any animal human or other, takes it upon themselves to tell a creation of the creator: you are not what you express yourself to be.

They are making the sickening sin, of profound ignorance that allows their ego, to delude them into a position ABOVE the creator.

In other words, if you find yourself saying that something that exists, some way of being, is in fact wholly new / false/ mistaken, then you are in a dangerous position of ego. One that has led you to a severe sin of ignorance. To imagine yourself as knowing more than the creator, whilst damming the creation.

It was the west that permitted such a sin to permeate through all, regardless of race and religion, with its invention of a new way to interpret and express reality. As in, overly defined words, permitting lies, and manipulation, and in that continually feeding the ego with the idea of an exact fact. That can tell even natural creations of the creator, whether it is valid or even real.

- spiritFeeling (I am just your conduit for this moment. You've had many & will have many more)

[felucians]

Nex Benedict's death wasn't just for being transgender, it was for being native too. 2 Spirits are revered in many native cultures and it is a native-specific identity. This wasn't just a hate crime against trans & NB individuals, this was also a hate crime against Natives of Turtle Island.

You cannot separate Nex's trans identity from their native identity - this is a case of MMIWG2S (Missing and Murdered Indigenous Women, Girls, and 2 Spirits).

Native children being killed at school is nothing new, so it's equally important to talk about Nex's native identity and being intersectional, this is a devastating tragedy for indigenous people, the queer community & especially those of us who are both indigenous and queer.

May Nex rest in peace 🪶

[homoquartz]

why is no one talking about the fact that nex benedict is indigenous?

they are choctaw.

native women and two-spirits are at the highest risk of sexual assault and domestic violence of any group. natives as a whole are at the highest risk for suicide. natives are also tied with Black americans for risk of being killed, both by police and by others.

it's critical to note that more than 90% of violence done against natives is committed by non-natives. this is a colonial issue, it's a genocide issue, it's an anti-indigenous issue.

when it comes to indians, our intersectional identities are often erased in favor of more visible or mainstream marginalizations like sex and gender.

this same thing happened when ezra miller kidnapped an indigenous teen. it happened when a nurse assaulted a native coma patient and she became pregnant and gave birth in her hospital bed. our indigenous identity is barely mentioned, despite this being a multinational crisis.

please learn more about the Missing and Murdered Indigenous Women (MMIW) movement here, here, and here

and please spread the word about this

don't let native people disappear in this conversation. nex's death is national news and they should be remembered for all that they are.

[slyandthefamilybook]

Why do people hate Jews? Simply put, because we're still here. Jews are one of the oldest continuously existing indigenous groups. We've survived persecution from such ancient empires as Assyria, Babylon, Egypt, Greece, and Rome. We've survived while their mighty walls crumbled to dust and their lives were lost to mythology. We've survived expulsions from practically every country in Europe, most of the countries in Central Asia, and even a few in Africa.

Everything we are is in defiance of every nation on Earth.

We pride ourselves on our communal spirit. We care for each other. We're self-sustaining. We ensure our own existence. Against all odds, we're still here, and we will still be here after whatever hardships we're currently facing. Our oppression has hardened our skin, reinforced our bones. You cannot kill us. Every time you try, it only makes us stronger

It's circular reasoning. People hate the Jews because it's been the thing to do for millennia. "109 countries can't be wrong!" They hate us because we've been hated, they oppress us because we've been oppressed. The irony is the more they try to kill us, the harder we'll fight for survival. The more they try to exterminate us, the more they guarantee our longevity. We will outlive them

[burst-of-iridescent]

South Asian and Hindu Influences in ATLA (Part 1)

disclaimer: i was raised culturally and religiously hindu, and though i've tried to do my research for this post and pair it with my own cultural knowledge, i'm not an expert on hinduism by any means. should i mess up, please let me know.

please also be aware that many of the concepts discussed in this post overlap heavily with religions such as buddhism and jainism, which might have different interpretations and representations. as i'm not from those religions or cultures, i don't want to speak on them, but if anyone with that knowledge wishes to add on, please feel free.

it's well-known that atla draws from indigenous, east and southeast asian influences, but something i rarely see discussed in the fandom is the influences the show takes from hinduism and south asia, and there are actually far more than i think people are aware of.

so here's a (non-exhaustive list) of the main inspirations atla drew from south asian culture and hinduism, starting with...

The Avatar

the title of the show itself is taken from the ancient language of sanskrit, often considered the sacred tongue of the hindu religion. in sanskrit, the word "avatar" means to "descend" or "alight".

the concept of the avatar is a very old one, referring to the physical incarnation of a powerful deity or spirit. the idea of the avatar is most often linked to the god Vishnu, one of three supreme hindu gods collectively called the trimurti, or trinity. the avatar is said to manifest upon earth primarily in times of great need, when balance must be maintained between the forces of good and evil.

atla borrows heavily from this idea in having aang be the incarnation of a divine spirit who returns to the world during a time of immense strife, and is tasked with defeating a great evil to bring balance back to the world. and though i don't know if it was an intentional reference, it's interesting to note that Krishna, the most famous incarnation of Vishnu was also reborn amidst a fierce storm and carried through a raging sea to a new home where he would be protected from the king who sought to kill him. sounds a little familiar, doesn't it?

Agni Kai and the Philosophy of Firebending

the word "agni" derives from the sanskrit name Agni, the god of fire, though it can also generally mean "fire".

the concepts of lightning bending and the sun being the source of firebending are likely also taken from the idea of Agni, since he's said to exist simultaneously in three different forms on three different dimensions: as fire on earth, as lightning in the atmosphere, and as the sun in the sky.

Agni is a significant aspect of many rituals, including marriage rites, death rites, and the festivals of holi and diwali. the concept of Agni is one of duality: life and death, rebirth and destruction. hindu rituals accept and celebrate both aspects, revolving around the idea that destruction is not separate from creation, but rather necessary to facilitate it. the cremation of the dead, for instance, is seen as purification, not destruction: burning away the physical form so the soul is unencumbered, set free to continue the reincarnation cycle.

this influence can be seen in the firebending masters episode, which discusses the idea of fire being vital to life. the sun warriors safeguarding the original fire and demanding that zuko and aang bring fire to the dragons as a sacrifice could also reference the ritual of Agnihotra - the ritual of keeping a fire at the home hearth and making offerings to it. the purpose of this ritual differs depending on which text you refer to, but it is generally believed to purify the person and atmosphere in which it is performed, similar to how zuko and aang must make offerings to ran and shaw and survive their fire before being deemed worthy and pure.

Agnihotra is said to serve as a symbolic reminder of the vitality and importance of fire as the driving force of life, a lesson that zuko and aang also internalize from their encounter with the dragons.

Bumi

bumi's name is taken from the sanskrit word "bhumi", which means "earth". it's also the name of the hindu goddess of the earth, bumi or bhudevi.

one of the things the original animation didn't do and which i really enjoyed about the live action was that they made bumi indian and added desi inspiration to omashu. it makes perfect sense for a king whose name is as hindu-inspired as they come.

NWT Royal Palace

chief arnook's palace in the northern water tribe takes inspiration from the gopurams of hindu temples, massive pyramidal structures that served as entrance towers to the temple.

gopurams were built tall enough to be seen for miles around, beacons to signal tired or weary travellers who wished for a place to rest that a temple was nearby. it's a nice touch that the chief's palace is located in front of the spirit oasis, a similarly symbolic entryway to a sanctuary housing otherworldly deities.

Betrothal Necklaces

to preface: i doubt this was an intentional reference, and this great post talks about other cultures that could have inspired the water tribe betrothal necklaces. given the desi influence in the nwt architecture however, i figured it was worth mentioning.

the idea of betrothal necklaces being given to women by their male partners is similar to the thaali, a necklace given to hindu wives by their husbands. during hindu weddings, grooms tie the thaali around their brides' necks to symbolize their marriage. once given, wives are expected to wear their thaali till the day they die, as doing so is believed to bring good luck, health and prosperity to their husbands.

Chi-Blocking

though chi-blocking takes primary inspiration from the art of Dim Mak, it is also influenced by the south indian martial arts forms of adimurai and kalaripayattu, both of which include techniques of striking vital points in the body to disable or kill an opponent.

kalaripayattu also shares parallels with firebending, being a very physically demanding, aggressive martial art that emphasises the importance of discipline and mental fortitude. control of the mind is essential to control of the body, a philosophy similar to that espoused by iroh across the show.

Wan Shi Tong's Library

the library draws inspiration partly from the taj mahal, the famous mausoleum constructed by shah jahan during the mughal empire as a monument to his beloved wife, mumtaz mahal.

i'll end this post here since it's getting too long as it is, and the following section will be even longer. for while atla treated the concepts in this post with respect, the same unfortunately cannot be said for its depiction of guru pathik and combustion man - both of which we'll be discussing next.

[atlaculture]

Cultural Architecture: NWT Totem Poles - The Specifics Pt. 2

Among most of the totem poles we see throughout the Northern Water Tribe (NWT), four representations appear consistently throughout. For this post, I will be covering the final two.

Koi Fish

The third totem is clearly a koi fish with long whiskers and a marking on its forehead. In other words, it's a reference to the physical forms of the moon and ocean spirit. I can't help but wonder if Aang's realization of Tui and La's true forms was unconsciously informed by the all the koi head totems omnipresent throughout the NWT.

Culturally, koi fish are yet another example of the Chinese influence in the NWT. In Chinese culture, koi represent fame, family harmony and wealth. There's also a famous Chinese folktale about koi fish and other carp:

Along the Yellow River, there is a legendary waterfall that cascades from a magical mountain top known as Longmen (登龍門), meaning the Dragon's Gate. If a carp can swim upstream against the currents and hop over the waterfall into Longmen, the fish will transform into a dragon.

Thus, koi fish can also represent determination, courage, and perseverance. The connection between koi and dragons also strengthens the fan theory that the dragons Ran and Shaw might be the Fire Nation's equivalent to Tui and La. Perhaps the dragons are the spirit of Sun and Fire respectively?

Wolf

The totem beneath the koi depicts a wolf. The wolf head totem also bares a striking resemblance to the headdress that Sokka wears in "Day of the Black Sun" (Season 3, Episode 11). Wolves are prominent figures in the mythologies of many Indigenous American cultures, particularly those whose societies were oriented around hunting.

Within different Inuit groups, wolves are called amarok (multiple groups), amagok (Inuvialuit), and amaguk (Inupiat). These names refer both to normal wolves and to the gigantic, supernatural wolf of Inuit religion. There are two Amarok-focused tales that I'd like to detail in this post:

A persecuted and physically stunted boy seeks to increase his strength. When he calls out to the lord of strength, Amarok appears and wrestles him to the ground with its tail. This causes a number of small bones to fall from the boy's body. The Amarok tells the boy that the bones had prevented his growth; he instructs the boy to return daily in order to develop his strength. After several days of wrestling with the Amarok, the boy is strong enough to overcome three large bears, thus gaining him the esteem of his village.

The land was once full of caribou; the people lived well and were happy. But the hunters only killed those caribou that were big and strong. Soon all that was left were the weak and the sick. The people began to starve. And so they called upon Amorak, the spirit of the wolf, to winnow out the weak and the sick, so that the herd would once again be strong. The people realized that the caribou and the wolf were one, for although the caribou feeds the wolf, it is the wolf that keeps the caribou strong.

From these two stories, we get quite a nuanced conception of what the wolf represents in Inuit culture. While wolves represent strength in many cultures, these tales really emphasize the wolf as a creature that strengthens those around it. Through this worldview, we understand strength not as an innate or individualistic quality, but one that's nurtured through mentorship and interdependence.

This makes Sokka's adoption of wolf imagery during "Day of Black Sun" all the more appropriate. Sokka is certainly not the most powerful character in the show, but his role as the leader strengthens the group as a whole.

Like what I’m doing? Tips always appreciated, never expected. ^_^

https://ko-fi.com/atlaculture

[fairuzfan]

The US tried to rid themselves of natives, but they are still here.

The UK tried to destroy Iran but the Iranians are still plenty.

The Turkish refuse to recognise the Armenian genocide and they tried to eradicate Armenian people, but Armenians still exist today.

The US tried to destroy Iraq, but the Iraqis are still plenty.

The UK were colonisers of South Africa, but we are still present.

The US supported South African apartheid, but we South Africans are still plenty.

The US is supporting Palestinian apartheid, but you shall be plenty.

And just as we are still thriving, Palestinians will still thrive. You will survive this. Remember that they CANNOT erase you. Whenever you get anxious about the news remember that your people will not be erased.

It is tough not being Western, yes. But this isn’t our first rodeo with these people. Don’t lose faith just because Genocide Joe has entered the mix. You’re gonna make it, I don’t know how I know, but my faith in y’all is unwavering.

In the midst of y’all’s curses, count your blessings. You’ve survived for more than 70 years, isn’t that crazy? Like they’ve tried this shit before with y’all, annexing y’all’s territory and killing y’all, but y’all are still here. Think about that. Y’all’s spirit literally refuses to die. Don’t let it die now.

Y’all are gonna survive this, and one day, hopefully soon, y’all’s peoples will be free. From the river to the sea.

Thank you so much!!!!!! And I hope for the everlasting liberation of Indigenous Populations throughout history!!!!!!!!!!!!

[stormbornwitch]

Connecting with the Land ~ Australia

Most of the folklore about witches and the practice of witchcraft originates from Europe.

The idea of 'witchcraft' wasn't a thing here in Australia until Europeans brought it with them. However, Indigenous Australians (as far as my research and interviews with elders have gone) follow what Western society would describe as 'animist beliefs' and 'magic rituals' were common practices.

Modern perceptions of animism, particularly in the Western World, are quite negative and viewed as "something hippies believe in." This perception is primarily caused by ingrained racist ideologies stemming from a colonial past (i.e., in order to justify subjugating people, you have to believe you're better than them) which perpetuated beliefs in colonised countries of the "primitive savage" and the "enlightened colonist." That's also not even mentioning the demonising of indigenous beliefs by missionaries of Christianity...

I find it ironic that in Eastern countries like Japan, where Christianity was not historically allowed to spread (banned in 1580s and hundreds of Christians were cruicified), animist beliefs like Shinto are now seen (in the Western world) as cool and mystical, and all the tourists want to visit the shrines of local spirits when they visit...

I'm getting off track, but hopefully you see my point: it is really hard to connect with a land on a spiritual level that is not yours, and was stolen from its traditional custodians on both a physical and spiritual level. I was born here in Australia, and so were my parents, but my ancestry is Scottish and British. I feel torn between two worlds that are so dichotomous from one another...

So, how do I connect with the spirits of the land?

Slowly, and with permission and guidance from local elders because there is a disconnect. I don't speak the language of the land and The Dreaming or 'spirit world' that accompanies our physical one. It doesn't help that much of the local language of the Gubbi Gubbi was lost due to the Stolen Generations, but there are general rules of thumb to follow when working with the Land:

We are a part of the land, and the land is a part of us. We are born from it, and so like our mother, we must care for and protect it. If you take care of the land, the land will take care of you.

Everything is about balance - never take more than you need and always give back what you can to ensure that the land is cared for for the next generation.

Ask first. Everything has a spirit, and you must ask before you take anything (I.e. like a branch from a tree). Thank the spirit for its gift / sacrifice (especially important if you have killed something).

Our ancestors watch over us our whole lives both from The Dreaming and in the physical world in the form of a totem (normally a whole family is represented by one animal). They are our guide, and your family must never hunt/eat your family's totem animal. It is your job to protect that species.

Many of the local landmasses and animals are represented by powerful ancestor spirits or creator spirits. Mooroo-kutchi (meaning red-bill, the name of the spirit of the black swan and an aboriginal girl from The Dreaming who transformed into a black swan searching for the spirit of her beloved Coolum who was killed by Ninderry.)

Smoking ceremonies are usually conducted as part of a 'Welcome to Country'. Each mob has their own traditional plant they use for cleansing the area of bad spirits and promoting healing and protection of visitors, but most use a species of eucalyptus or gum. The ceremony invites you onto the physical land as a guest and asks the ancestor spirits of that mob to watch over and protect you while you're there.

Corroboree (storytelling gathering) ~ knowledge of the land and its spirits are told through song lines and dances, and using the traditional language helps to connect better with these spirits.

Thank you to the local Aunties and Uncles for teaching me these and so much more over the years!

*'Uncle' or 'Aunty' does not mean we're related. Here, it is used as a sign of respect that recognises the age, wisdom, and knowledge of aboriginal elders. Though it's recommended that non-Aboriginal people ask the elder how they would like to be referred to as normally, it's not considered appropriate to refer to them as such unless a strong relationship has been established.

[alpaca-clouds]

Understanding Princess Mononoke

People on twitter have asked me to write this up, after speaking just a bit about it on the bird plattform.

So, recently I rewatched Princess Mononoke and talked about it with a friend, who is Japanese with a degree in Japanese history. And I think some of it was rather interesting.

Some of you might already know this. But others might not. So just endulge me for a moment.

Let me start with Ashitaka. The movie does mention that he is Emishi - but many people are not aware, what this means.

See, Japan had quite a lot of indigenous cultures (I will talk more about those tomorrow). Most might know the Ainu, as they are still around today. Fewer might know about the Ryukyuan people of Okinawa, who are also still around. But there are several indigenous people, who have once lived in Japan, but whose culture hence had become instinct. The Emishi are one of them. They lived in Northern Honshu and their culture disappeared around the 10th century.

The movie, of course, takes place in the late 14th century, which is why the monk notes, that he knows what Ashitaka is, but will keep it secret. The idea is that Ashtakas little village had stayed secret to avoid being destroyed. As such Ashitaka has a different relation to the nature and the nature spirits than the other characters of the movie, who are to engrossed in the mainly Buddhist culture.

Another thing that has to be addressed is Iron Town and Lady Eboshi's people. According to the official Japanese material to the movie, Lady Eboshi once was a prostitute herself, who happened to get power by getting taken to China. Which is why she is in possession of the Chinese gun technology. She then decided to use that to allow herself power - but not entirely out of selfish reasons. Because she, of course, takes in untouchables. Japan, to this day, has an untouchable caste. Which are people who work certain "dirty" jobs or sicknesses. Most of the women in Iron Town are prostitutes who Eboshi had bought free from their brothels. And she wants to have a town where those people can live good lives.

Because of this she has to hope for the support of the Emperor, as the Samurai lords in the surrounding areas do not want her there.

Which brings me to the finale and killing the god. Here is a thing that you have to understand of Japanese history. The original indigenous people of Japan believed in nature spirits, that at times were actually gods. Especially mountain gods. As Buddhism spread (again, something I will talk about more tomorrow) the upper class went out to kill the gods.

Old Japanese history will talk about people killing gods in the same way, as we talk about St. Patrick and the snakes of Ireland. As if it has really happened.

And that is something that Eboshi tries to do. It is killing the old god, but more than that: killing the old culture.

One of the central conflicts the movie shows is, that the nature spirits are loosing their self-awareness. That they revert to normal animals. Because the indigenous culture that revered the nature spirits is fading away.

Which then is, why Ashitaka, who comes from one of those indigenous cultures, is the main character of the movie. Because he still has this connection to the nature spirit, that the other people have lost.

Yes, the movie is very solarpunk in hindsight. But it also understands what it means to loose connection to nature.

And I find that really beautiful.

[sharpth1ng]

In less than a 2 week period between August and September, 6 Indigenous people were killed by police in my country.

One of them was 15 year old and he called the police because he thought he was going to be attacked by some people who were following him. He called for help, and the police showed up and shot him.

Another, a man from same nation as me was killed during a wellness check. Again, he called for help and the police shot him.

And the worst part is that none of this is new. This has been happening forever, and it's not just the cops killing Indigenous people in North America.

All over there are reservations who haven't had access to clean drinking water in years, because industry is allowed to pollute their water supply. Treaties are constantly broken, land constantly encroached on and abused. Indigenous women and 2 spirit people going missing and being murdered at alarming rates with no real attempt at investigation. Indigenous people dying alone from medical neglect and being abused in hospitals.

Next week I am going to a memorial walk for a 22 year old woman who died from medical neglect. She went to the hospital with meningitis and the doctors profiled her as a drug user because she had traditional tattoos, and apparently to them that meant she didn't deserve equal care. By the mere fact that I'm mixed my skin is lighter than hers, and that means I can get good care at a hospital when she couldn't.

It hurts, and I'm scared for the people I love.

Over and over colonial governments apologize in passing and make wordy commitments to "change" which amounts to giving us a day of remembrance and basically nothing else. That day of remembrance is today and I don't feel much more than rage right now.

If you like my work, if you've appreciated my fics or been touched in any way by my writing I would really appreciate if you would sign any of these petitions. I don't care which nation you choose to support, all need help and support to recover from the years of abuse and colonialism that continues to this day.

If you are North American, find out whose ancestral territory you are living on- odds are it's unsurrendered. Take time to understand the treaty rights of Indigenous groups in your area and acknowledge when they are broken so you can hold your representatives accountable. If there are memorial walks, healing walks or protests near you, go to them. Speak up against industrial invasions on Indigenous land and remember the names of the people who are killed or who go missing.

And the next time you hear someone saying theres only two genders tell them they're being fucking racist.

[underwaterspiderbird]

and we’ll just find the spirits of our departed trans peeps & bring them back to the corporeal plane. nothing is impossible, and how is never as important as why. we keep their names alive, so they’re already on the road to resurrection. anything imaginable is possible.

Trans people have existed for millenia and will continue long after the miserable corpse of the last Christofascist has rotted away.

If I die ten thousand more will take my place. And ten thousand more will take theirs. You cannot kill me in a way that matters

[trashcanlore]

A Crack Theory About Maze

Alternatively: Everyone in Natlan is dead and I can prove it with 3 easy tools I already have in my brain

*Record scratch* I bet you're wondering how we got here. Well, it all started when I was playing through Simulanka and saw the carpet on the floor of Constellation Metropole. The pattern reminded me of player piano scrolls, and since my brain needs to be studied in a lab, that then reminded me of Westworld. (Slight spoilers for season 1 follow)

Westworld is a sci-fi-ish TV show about a futuristic amusement park recreating the Wild West, featuring interactive storylines where guests can act out their hearts' darkest desires. The only ‘people’ hurt are the hosts, who are basically the android NPCs of the park. Hosts are part of greater park narratives, and individually operate within their story loops, unless disturbed by the outside forces of guests. At the end of each day, the hosts are reset/memory wiped/repaired (unless the narrative says differently) and return to experience the horrors anew. The player piano is used as a visual and narrative motif throughout Westworld to represent the cyclical and automated lives of the hosts; similarly, the clockwork in Constellation Metropole represents the strictly laid out paths of the toys while under the ‘protection’ of the Goddess of Prophecy. 

Convinced this carpet pattern was an intentional reference, and knowing that summer events foreshadow the new region, I flung myself headfirst into themes and narratives delulu (a season 1 rewatch) and during that rewatch I realized that a different Westworld plot point and visual motif might be what's actually foreshadowing for my mostly vibes-based theory: Everyone in Natlan is dead.

THE MAZE

The imagery of a humanoid figure in a maze is used throughout Westworld, explained within the narrative of the park as a Native American myth. According to the in-park mythology, the maze represents “the sum of a man’s life,” and the man in the center has been killed and resurrected many times, eventually building the maze around himself as protection. (Resurrection is a very common theme in Indigenous American mythology.) There is a human character who is trying to solve the maze, and for a time he believes the center of the maze is true death, something that does not exist in the park because the guests cannot be killed (by the hosts) and the hosts can always be repaired.

This myth is based on the real life creation myth of the Tohono O'odham people, where the Man in the Maze, I’itoi, created the world in an intense struggle and then retired to a labyrinthian cave on top of a mountain. In art, I’itoi is depicted above a maze, which represents the experiences and choices of a person throughout their lives. The middle of the maze represents their goals and dreams, and once they reach the center, they can look back and then pass into the next world.

According to some tellings of the myth, I’itoi was killed by the humans he created and taught. He then resurrected himself, invented the concept of war, and then brought the Tohono O’odham people to the surface of the earth to be his soldiers. 

Fun fact: This creation story is actually referenced in ZZZ, with the Papago hollow (Papago is an alternate name for the Tohono O’odham people).

In Westworld, the maze is actually a thought exercise and model developed by the programmer behind the park hosts. His theory of consciousness was that it was achieved through a journey inward, and when a host reached the center of the maze, they would achieve true consciousness and be ‘free.’ 

Maze iconography in the Americas is not unique to the Tohono O'odham people - another notable example is the Hopi Tapuat. This labyrinth (technically only has one path) represents the human life cycle and eventual (spiritual) rebirth.

While researching maze symbolism, I read a few articles that mentioned Mesoamerican mazes being used to trap the spirits of the dead, but unfortunately, I couldn't find any specific source for that information. However, it is possible to connect maze imagery to the Aztec and Mayan beliefs about the Underworld. Multiple archaeological excavations have uncovered huge networks of caves, tunnels, and rooms underground that may have been built to represent the journey to the underworld and/or provide a location for rituals associated with death. (You can read more about this here: 1 2 3)

As for the underworld itself, both the Aztec Mictlan and the Maya Xibalba are described as containing all kinds of traps and challenges for the dead passing through - and can’t forget the ballcourt (in Xibalba at least). Ball is life. While this isn’t exactly a maze, I will argue that for the sake of this crack theory, it’s close enough thematically. 

Smoke and Mirrors

You may have recognized the name Mictlan, because in Genshin, that’s one of the names for the Masters of the Night-Wind tribe, which can be alternatively translated as “Masters of the Mysterious Smoke.” This will be relevant later, I promise. 

The Natlan craftable sword, the Flute of Ezpitzal, is described as being a ritual instrument of this tribe, and the description tells the story of how humans and dragons came to a (local?) agreement to ensure their survival. The dragons had fled into dreams because of the fire of “ancient beacons,” and when the humans asked for their protection, they offered the following: 

"A labyrinth of mirrors and a fortress of mist, these shall we build to shield your tiny mortal tribes from the scourge of war." 

The theme continues with the name of the sword’s passive: “smoke-and-mirror mystery,” and the upcoming Archon Quest “Beyond the Smoke and Mirrors.” The phrase “smoke and mirrors” is an idiom for distracting from something unpleasant, but in the context of Natlan lore, it’s almost certainly referring to the smoking obsidian mirror iconography. 

Mirrors of all kinds were used throughout ancient Mesoamerica for divination and scrying-like rituals, including communication with otherworld entities. The most well known mirror material used was obsidian, which was also used for blades and tools - the black color of obsidian is probably what led to its association with smoke (also you can use mirrors to start fires). Obsidian mirrors were associated with additional imagery such as fire, the sun, eyes, butterflies, and caves as the entrance to the underworld. Mirrors were also compared to the surface of still water (a straightforward comparison) - one interesting example is Aztec writing that referred to Aztlan (mythical origin of Aztec people) as ‘the great water mirror that surrounds the great city.’ There was even a period of time where the mirror was used as a metaphor to represent the world itself. 

This is similar to what Mona says about Simulanka: fate in Simulanka is directly based on Teyvat’s, and that “the creator made this world inside a mirror, or a lake, and this world is the reflection.” 

Here’s where things start to get interesting: there is a Nahuatl glyph for the smoking obsidian mirror, specifically associated with a god who we’ll discuss later. The scroll-like shape used for the smoke is very similar to the symbol used for speech, singing, or breath.

This shape is also very similar to the older Mayan glyph for smoke - which happens to be basically identical to the symbol used for blood. You can see an example here in this famous carving from Yaxchilan:

The link between smoke and blood is actually explicitly referenced in the name of the Flute of Ezpitzal. Ezpitzal is a Nahuatl word meaning ‘gust of blood’ - eztli is blood and pitza is ‘to blow,’ as in playing a flute. Pitza is also sometimes translated “becoming inflamed with anger.” The ezpitzal symbol is made up of six streams of blood, ending in a precious stone, with a heart in the center:

The ezpitzal can be found flowing from the head of older depictions of Tezcatlipoca “smoking mirror,” the Lord of the Night. 

The Lord of the Night

Tezcatlipoca is one of the central Aztec gods, associated with the night sky, hurricanes, and conflict, and the calendar. He was typically depicted with a missing foot due to a monster attack and a smoking obsidian mirror somewhere on his body. The missing right foot is usually replaced with a smoking obsidian mirror, a snake, or a bone. Tezcatlipoca has similarities to the earlier Maya deities Tohil (god of fire and associated with sacrifice) and K’awiil (thunder god), who is depicted with a smoking obsidian knife in his forehead and one leg replaced with a snake. 

The smoking mirror glyph associated with Tezcatlipoca looks a little bit like the obsidian carvings in the Night Kingdom:

Besides for the title of Lord of the Night, Tezcatlipoca is Genshin lore relevant as the rival of Quetzalcoatl. In one version of the Five Suns Aztec creation myth, Tezcatlipoca and Quetzalcoatl are creation gods and take turns being suns and destroying each other’s work. Quetzalcoatl hasn’t been mentioned by name in Natlan yet, but his Maya equivalent, Kukulkan (“Plumed Serpent”), also known as Waxaklahun Ubah Kan (“War Serpent”) sure has. In Genshin, Waxaklahun Ubah Kan, or the Sage of the Stolen Flame, stole a seed of phlogiston from the dragons and taught the humans how to use it. He is shown alongside Xbalanque, the first Pyro Archon, on a mural, where they both appear to hold phlogiston. There’s something important missing here: How did the Genshin equivalent of Tezcatlipoca contribute to the ‘creation’ of humans?

In the 5.1 trailer, the Lord of the Night and the “protection of the rules” are mentioned. The only information we have about the Lord of the Night is that in the misleading Records of Hanan Pacha, he leads humans astray and is the enemy of Waxaklahun Ubah Kan, and that a cat in the Night Kingdom warns us against trusting the Sage.

The set of rules we know the most about are the ones created by Xbalanque, using borrowed power from the heavens (Ronova). These are the rules that allow humans to become Archons and inherit the memories of the land. 

The other, more mysterious set of rules, are those that allow Ancient Name bearers to resurrect through the Sacred Flame with the help of the Archon. The Sacred Flame is a conduit to the Night Kingdom and the Wayobs, and is fueled by Contending Fire produced by battles between Natlan people. Given that Tezcatlipoca is a god of conflict, I think these rules mentioned in the trailer are referring to the Sacred Flame system of resurrection. 

Therefore, at some point during Natlan’s history, the beef between the Sage and the Lord of the Night became so severe that the Lord of the Night’s contribution to the system of Natlan was intentionally covered up- which may be what Capitano is hinting at in the 5.1 trailer when he says Mavuika is withholding information from us. 

This was a bit of a tangent, but I promise it’s relevant to the thesis. At the conclusion of the Five Suns myth, Quetzalcoatl descends into Mictlan to find the bones of the humans he created under earlier suns, and who were destroyed by various god antics, including those of Tezcatlipoca. He then uses his own blood to bring the humans back to life. Maybe my insistence that everyone in Natlan is dead isn’t so vibe based after all. 

The Center 

It is time for me to confess something. In actuality, these 2k words were elaborate setup for a pun. 

Here it goes: At the conclusion of the K’iche’ Maya creation story, the Popul Vuh, the gods finally find the perfect material for creating humans who will worship them: maize. The hurricane god and the Quetzal serpent sculpt the first humans out of a maize paste, with water for blood. Conveniently, these two can be directly compared to Quetzalcoatl and Tezcatlipoca - further supporting the possibility of the latter’s important role in Natlan’s history. 

Earlier, I mentioned how water and mirrors were closely associated, and how the glyphs for blood and smoke look similar. The Flute of Ezpitzal name and lore reference the protection of humans with a ‘labyrinth of mirrors,’ smoking mirrors (weapon passive), and blood through the word ezpitzal. The ezpitzal is also closely linked to Tezcatlipoca, one of the Aztec creator deities. Using this symbolism, the smoke and mirrors represent the water, or blood, used to (re)create humans. Which then means of course that the second ingredient needed for humans is maze - I’m sorry, maize. 

And if the humans are made out of maze…well then they must be dead. 

Sabre’s Fun Fact Science Corner (with bonus Latam literature section just for Schwan):

The Genshin writers love the story of the Hero Twins defeating Seven Macaw and replacing his teeth with maize - they’ve referenced it at least three times so far. The weirdest is the flipped version where the human priest Maghan sacrifices himself and combines his blood with animal teeth and dirt to create grainfruit (maize). Autosacrifice of blood in particular was a very important Maya ritual. I appreciate their commitment to keeping the maize cannibalism implications going.  

The Narzissenkreuz Ordo associated lore has had multiple references to circular ruins and mirrors (which may simply just be the Alice in Wonderland reference) - however, we do know that one Ordo member went to Natlan looking for Something. “The Circular Ruins” is a short story by Jorge Luis Borges where a man tries to create another man through dreaming, with the help of a deity known as “Fire.” The story itself references Through the Looking-Glass as well. 

This one is full credit to Schwan but there’s a Mexican novel Pedro Páramo, which was very influential on other Latin American writers like Gabriel García Márquez. The plot is basically that this guy travels to the town where his father is from to meet him and then it turns out that everyone in the town is dead. It’s very core. 

It turns out Westworld season 1 is extremely HYV core - I just know some guy there saw the last episode and had their brain rewired, much like Dawei seeing Misato Evangelion for the first time

References: https://www.library.pima.gov/content/man-in-the-maze/ https://en.wikipedia.org/wiki/I%27itoi https://westworld.fandom.com/wiki/The_Maze

[desmon1995]

The spirit of Cyrus and how the system crushed her.

One of the biggest changes from The Warriors 1979 film to this new vision isn’t just the gender swap of key characters—it’s how the police and the entire system are reframed as the real evil in the story. When Cyrus gathers all the gangs, her vision isn’t just about peace between rivals; she’s calling for a unified front against the cops who lurk around and disrupt their lives. Her speech isn’t about street power, but about empowering the community to stand against the forces of oppression.

The truth is, Cyrus sees the real enemy isn’t within their own streets—it’s those serving a system that’s set on keeping them down. History has proven her right: policing in America has often been about protecting the elite, silencing anyone they deem "unacceptable," especially if they don’t fit the “ideal” mold. Indigenous people, Black and Brown communities, anyone who dares to exist outside white, privileged norms—they’re the ones society polices, the ones the system works to erase or control.

In the original, male Cyrus came across as just another "big bad" trying to be a mob boss. When he dies, you’re almost led to shrug it off, like his dream was just a fantasy. But here, with a Black woman as Cyrus—a true activist—you feel her tragic death echo, channeling the loss of figures like Martin Luther King Jr.

And then there’s Luther. He’s an unsettling character, someone the system actually benefits. Why? Because he’s white. He gets away with things others can’t, shielded by his appearance and privilege, even as he revels in tearing the community apart. Of course, someone like Luther would hate Cyrus’s dream—it threatens his automatic advantage. The cops won’t go after Luther or his gang, just like the police tend to ignore white supremacists and hate groups today. As long as they look a certain way, they’re not seen as a “real” threat.

What’s chilling is how Luther and the Rogues are invited to join a movement of solidarity, to unite with the community, and instead they become the ones who tear it all down. When Luther sings his first song, it’s jarring—a complete shift from the soulfulness of “Can You Count?” to his arrogant, snide tone. He’s out of sync with the world Cyrus dreamed of, and he uses that to his advantage. He casually tips off the cops, sneers at the women (calling them “girls”), and mocks non-white characters for how they speak. He embodies privilege weaponized.

Meanwhile, the police barely lift a finger throughout the album. They only go after the Warriors when they’re at their most vulnerable but ignore every other gang causing havoc. Officer Barnes, for example, uses his authority to harass the Warriors, almost baiting them into a fight. When Ajax gets cornered in "The Park at Night," Barnes makes it clear that he sees her as prey, but he still knows he can call for backup with a snap of his fingers. Another officer, Victor, kills Fox in cold blood without a hint of remorse.

This album’s ACAB message is no footnote—it’s the heartbeat of the entire story. The gangs know the police are their greatest danger, the Borroughs dream of change under Cyrus’s leadership, and even Luther sees the cops as a tool to weaponize. The Warriors, once they leave Coney, see how deep the rot goes.

By the end, there’s an underlying message that speaks louder than anything else: this system is beyond saving. It needs to be torn down because it was never built to protect them. This is where director Davis and her mark shine, bringing a fire and an urgency to the story that makes it resonate with today’s social climate.

And honestly, I hope Lin-Manuel Miranda keeps collaborating with voices like hers. It’s making his work grow in ways that feel bold, necessary, and ultimately timeless.