#architectural uprising

[archuprisinglyon]

Pour préciser : 50 ans est la durée garanti des constructions en béton armé, leur durée effective dépend beaucoup de la rigueur de la construction et de l'entretien. Malgré tout, elles sont garanties de se dégrader du fait de plusieurs phénomènes chimiques et environnementaux. Même si on peut les faire tenir un ou deux siècle, ce n'est pas assez au vu de l'impact sur l'environnement et du bilan carbone.

[rojt109]

This comment deserves a highlight:

Terraced housing in Köniz, Switzerland, 1978. Photos by Hans Krebs.

(ETH Library)

[lafaiette]

Gods I feel you I'm only 10 hours in after having received the game as a gift and I REALLY try to like it but it just ... doesn't feel like Dragon Age. Characters know stuff they shouldn't know about, the game keeps talking down to me, nothing I did in the previous games mattered, the tone is completely different, the mature storytelling of the previous games seems to be missing so far & what I heard so far of how the lore and the characters from previous games have been handled is honestly the worst part and breaks my heart. idk even if i wanna finish the game at this point anymore, I'm just kinda ... sad.

I'm so sad and disappointed, too, I remember our conversations, fics, and headcanons about DA! We were so excited and happy, because Inquisition, DA2, and DAO were genuinely well-made and aimed at pleasing the fans, despite their faults.

DATV is a good action game, no doubt about that. The combat is fun, there is a lot to explore and discover, and many locations are beautiful, even though some are terrible to navigate (Dock Town's structure makes no sense). But that's it - it's a good action game with the name "Dragon Age" pasted on it. It doesn't feel like it's part of the series, it constantly treats the player like an idiot, some references to past games and characters are literally hidden in the brief descriptions of the mementos, and there is even a Glossary to make sure the new players don't get frustrated.

Everything is safe and aseptic, cleaned of every deep piece of lore that could have scared new fans into buying or continuing the game. Even the banters lack the depth of the previous games.

A good game company should lure new players in not by rejecting their past entries, but by making them look even more interesting with their sequels.

Bioware wasn't afraid of offering piece of lore after piece of lore in Inquisition - it was a game set in a precise moment, whose prologue was directly tied to the events of the previous game, and new players had to accept this if they decided to buy it and play it. If they liked that premise, all that information and those details, then they were more than welcome - they were encouraged! - to go back, try the older games, and see how it had all started. It was a game made for the fans the company had already managed to win over, not for possible fans who may or may not bring new money in.

In DATV the new players can jump right in after quickly learning who Solas is and what he's trying to do, and old fans are left with an empty shell, with minor references that are supposed to make us feel happy and accomplished peppered here and there, while all our past choices and our favorite characters are forgotten or brought back with a terrible case of amnesia. It's lazy, infuriating, and very sad, and it smells of reboot, because the new devs probably realized they couldn't keep up with the amount of lore and choices the series contain, and they needed to start anew.

[roisinatelier]

Tested Honeys face movements so far and they are coming along well! The sweetest demon is becoming more and more lively! Honeys design, art and rigging are all my own.

[ottogatto]

The Revolution That Is Changing Architecture:

Although it fails to talk about implementing as many green spaces and trees as possible everywhere in cities, I believe it's a complementary solution. And I won't say that classical/traditional architecture is the only solution against "modern" buildings, but we definitely need buildings that feel more alive, not the simplist, concrete, grey, box-shaped buildings we see sprouting everywhere. It's important against the climate crisis and for our mental wellbeing.

[sheltiechicago]

Ilinden / Makedonium – A Monument Dedicated To The Fighters And Revolutionaries Who Participated In The Ilinden Uprising Of 1903

Revitalizing The Heritage Of Socialist Modernism: BACU’s Online Initiative To Protect Central And Eastern European Architecture

Preserving the monumental yet decaying structures of central and eastern Europe erected between 1955-91 is the mission of the online initiative, Socialist Modernism, created by the Bureau for Art and Urban Research (BACU). With an aim to revitalize this heritage, BACU believes in the significance of these elements which managed to defy some of the ideological requirements of their time, giving the urban space a distinct flavor characteristic of the socialist period.

Palace Of Weddings, Bishkek, Kyrgyzstan, Built In 1987

One Of The Two Halls Of Parting, Memory Park (Kyiv/Kiev) Ukraine. Built 1968–1981

Eastern Gate Of Belgrade, Rudo Buildings, (Istočne Kapije) Belgrade, Serbia, Built In 1976, Architect: Vera Ćirković Engineer: Milutin Jerotijević

Museum Of The Slovak National Uprising, Banska Bystrica, Slovakia, Built In 1969

[ttv-budzplay]

Feel free to stop by and chat up with me it would help out alot 😊

https://www.twitch.tv/Budzplay?sr=a

[citybreaks]

Discover Warsaw: A city teeming with history, stunning architecture, and vibrant culture. Whether you're exploring historical landmarks like the Royal Castle and Warsaw Uprising Museum, immersing yourself in art at POLIN Museum, or relaxing in lush parks like Łazienki, there's no shortage of experiences to savor. And don’t miss out on the culinary delights! Indulge in pierogi and other traditional dishes that will leave your taste buds begging for more.

Warsaw perfectly blends old and new, making it an unforgettable destination for your next adventure. Ready to explore?

[felassan]

The Art of Dragon Age: The Veilguard preview pages Part Two, under a cut due to spoilers. Preview pages come from Google Books.

[Foreword]

[Part One]

In Inquisition you had your advisors in the war room. We liked the idea of bringing the whole team in with you and the opportunity for friction it provides.

Part Two: Joplin

Top: Solas continues to taunt you and guide you through dreams. Middle: The suggestion of romance at sea. Bottom (1): Solas is nearly triumphant, but you reveal that you know about the last elves. Bottom (2): A stealthy, aquatic infiltration in Tevinter. Text: Story Art – After Dragon Age: Inquisition shipped, and all the DLC was complete, we focused our full attention on the sequel. It was going to have a fantasy spy theme, which was eventually modified to “covert commandos”. We were travelling to a new part of the map to hunt down the most dangerous man in the world. The beat boards continued. As the story started to take real shape, we asked if the artists could be moved into the same room as the writers. We could then get real-time updates to the story and create quick storyboards. Previously, most people working on the game didn’t know the full story until all the pieces had been put together in a take-home build (months from shipping the final game). For the first time ever, we could show the whole team what the story was intended to be near the beginning of the project, rather than the end. The biggest benefit of this was that the story could received feedback from a wider cross-discipline audience and could then be iterated on more than ever before. This also helped unblock the art team in an unprecedented way. Being able to look at the whole story in one glance meant that we could begin to prioritize our efforts. For example, we could tell which locations would feature most heavily, so we could spend more time designing their architecture, props, and clothing. It also forced us to do quick first-pass designs without overthinking, knowing that later we could come back and refine things if they changed. This method also takes a lot of pressure off and prevents things from feeling “overbaked”.

Top: The team is at its lowest. Middle: Sparking an uprising. Middle (2): Ghilan’nain is defeated. Bottom: In a dream, Solas is furious with you.

Top: You meet with the Archon of Tevinter. Middle: You stop Solas’s ritual, but something (or someone) escapes. Middle (2): Elgar’nan. Bottom: The patchwork team doesn’t get along at first. Bottom (2): Exploring the Anderfels.

Top: Solas reconstructs the lyrium dagger from the idol. Middle: The team discovers the body of Elgar’nan’s Archdemon. Middle (2): Ghilan’nain. Bottom: Tranquilizing himself, Solas recloses the Veil around himself and the Blight.

Top: This sequence was an early fail state. Solas succeeds in his ritual, life as Thedas knows it comes to an end, and the ancient elves return. Middle: Storyboards had played a critical role in the development of Inquisition. We wanted to integrate them into our process even earlier. To that end, we created an interactive storyboard. Starting with the early drafts of the story, we sketched it all out, including any major choices. These boards were then stitched together into a playable choose-your-own-adventure-style game. It meant that years before the real game was up on its feet, an early draft of the entire story could be played from beginning to end. This was invaluable in receiving early feedback from the team and planning out what visuals would be needed to support the game. Bottom: A rather covert entry into Tevinter remained a consistent element in the story right to the end.

Top: Rook and a team track a mysterious idol to a black-market auction. Middle: You’re not the only team that has been tracking the idol. Bottom: The remnants barely escape. Text: While we worked quickly, these sketches helped reveal where to best spend our efforts later. It turned out we spent far more time in particular locations. Some factions were over- or under-represented. In one case we discovered a unique creature that would have taken ages to build but would have only appeared for ten seconds before disappearing forever (it was cut).  

Middle: These quick sketches are often used to approve new ideas as fast as possible. In this case, exploring a “hidden in plain sight” meeting place in a Thedas nightclub. Bottom: Icons from the interactive storyboard, where you could decide whether your Inquisitor had disbanded or preserved the Inquisition, and whether they stood opposed to Solas or not.

Top: Solas reaches out to Rook in dreams. Middle: Exploring new sections of the Deep Roads. Bottom: With the help of the Wardens, you defeat Elgar’nan. Text: After a round of feedback, the story was revised. For the next batch of drawings, we added more polish. This helped us design the game before designing the game. At this stage, we weren’t too precious about anything, so we could make visual design decisions quickly, purely to tell the story. Many designs made during this stage remained largely intact.

Top: A version of the deserts of Nevarra. In this case, trying something with very high contrast: white ash and sharp black obsidian.   Bottom: The eastern Tevinter town of Ventus. This Tevinter location is a little less oppressive than the megapolis of Minrathous. You can see the hanging gardens, and in the background are magical statues keeping Arlathan Forest from encroaching any closer.

Top: Another fail state was that if you couldn’t find a way to block Solas from your dreams, he would be able to kill you remotely. Bottom: Solas lures his greatest threats to one location and wipes them off the board.

Top: Some visual backstory for Solas’s cut “bad cop” right hand, Reva. Middle: In disguise at a fancy Necropolis ball, waited on by the undead.   Bottom (1): As you sneak into the ball, you sneak into the host’s office, only to find Reva one step ahead of you. Bottom (2): Reva reports back to Solas.

Top: In one draft of the story, Solas manipulated Tevinter and the Antaam into open war, with the goal of performing the biggest blood-magic spell since the creation of the Veil.   Bottom: Rook would have to covertly approach both sides of the conflict to plead for peace. Should Rook fail at diplomacy, Solas also planted magic-collecting orbs around the battlefield. Sabotaging them would be Rook’s last option.

Top (1): Solas’s magical ritual in Arlathan Forest has already begun. Top (2): Elves loyal to Solas’s cause stand in your way. Middle (1): You finally reach Solas, just as he plunges his lyrium dagger into the Veil. Middle (2): Reva reveals a monstrous “Dread Wolf” creature. Bottom: Solas is stopped, but you begin to learn that you’ve unleashed something far worse. Bottom (2): The biggest advantage to working like this is turnaround time. You can show someone a drawing and say, “Like this?” and then quickly revise it.

Top: Imshael, having previous joined Solas, turns out to be a loyal double agent. Middle: Kal-Sharok dwarves perform a ceremony in the grip of an ancient Titan. Bottom: Solas tranquilizes Ghilan’nain (above) and, as his last act, performs the same procedure on himself.

Ghilan'nain reveals herself to the world.

[no caption]

Top: A final message from the Inquisitor. Bottom: Defeated, Solas enters the Black City alone.

Top (1): Team members betray you. Top (2): A sacrifice opens the Black Eluvian. Middle: A happy ending with your love interest. Bottom: Secret instructions from Charter.

[no captions]

The ship was a great backdrop for the interpersonal conflict of the team. We enjoyed thinking about how to make it unique, like including the collection of curiosities seen above. We also liked including the idea that Isabela procured it for you, but as a fixer-upper. Nothing like a scrappy but lovable ship to call home.

Preview pages end here.

Book art credits:

BioWare art: Matt Rhodes, Ramil Sunga, Albert Urmanov, Christopher Scoles, Nick Thornborrow, Steve Klit

Volta art: Gui Guimaraes, Stéphanie Bouchard, Akim Kaliberda, Alejandro Olmedo, Alexey Zaryuta, Julien Carrasco, Maksim Marenkov, Marianne Martin, Mariia Istomina, Marion Kivits, Matti Marttinen, Mélanie Bourgeois, Pablo Hurtado De Mendoza, Rael Lyra, Rodrigo Ramos, Thomas Schaffer, Tiago Sousa, Tristan Kang, Vladimir Mokry, Yintion J, Joseph Meehan, Stefan Atanasov, Julien Carrasco

Additional art: Marc Holmes, Thomas Scholes

[historicity-was-already-taken]

Received this question just now. Posting my response sans askers' username per their request:

Hi, as you are a holocaust historian, and as you mentioned in a recent post, words mean things, I was sort of wondering what you thought about people saying that what’s happening in Palestine isn’t genocide because the holocaust was genocide/6 million Jews was genocide. I’ve seen a couple people saying stuff along the lines of ‘if what’s happening in Palestine is genocide, we need another word for the holocaust’. I’m not worried about you knowing it’s me asking (like asking on anon) because I think you talk to people pretty reasonably but if you could answer it in private or without my name on the ask I would appreciate it, people seeing it could get… unpleasant, talking about this stuff and I try to stay out of the line of fire to the best of my ability. Totally fine if you don’t want to answer, I don’t want you hounded about Palestine either, it just seemed like you might have an interesting take with your studies

Anyone is capable of genocide, of following orders to commit human rights abuses, of attacking civilians, etc. No identity groups’ past—however violent and traumatic—makes them incapable of committing war crimes. Referring to what’s happening in Gaza as genocide doesn’t invalidate Jewish communal thought regarding the Holocaust. Moreover, the fact that the State of Israel has built Holocaust memory into its nation-building doesn’t mean that that country is inherently incapable of crimes against humanity. There is a cohort of primarily 65+ Jews who hold a trauma-induced belief that Israel could never be capable of these crimes because everything Israel does is in the interest of protecting the Jewish people. It’s a pretty thought, and one I used to hold, but it’s not reality. Many as well would argue that, because the October 7 attack was inherently genocidal, Israel was moral and just doing what it needed to do to bring the hostages home and stamp out Hamas cells. Indeed, these hypothetical individuals would continue, the fact that Hamas has built itself into the civilian architecture of Gaza means that Hamas is using Palestinian civilians as human shields; not that Israel is committing genocide. I personally think that’s wishful thinking. Hamas 800% bases itself near structures like hospitals and kindergartens so Israel will look bad when it attacks those places,* thus willfully allowing the people it governs to exist as human shields. HOWEVER, I don’t believe for one minute that the Israeli military doesn’t have the technology needed to seek out evidence of heat, heartbeats, etc, in hidden subterranean areas. Their counter-attack was always going to happen, but the way it’s been fought? Naw man it’s indefensible.

You know I don't do comparisons or Holocaust inversion, but I do have feelings and emotional responses which don't care about my Serious Intellectual Historian views on comparisons and Holocaust inversion. And, there's a very disturbing moment in one of my primary sources for my book where a woman describes a Nazi attack on a hospital in the Warsaw Ghetto. She describes the screaming and the panic and the civilians begging to be euthanized. Similar readings and sources exist for hospitals in Warsaw during the 1944 Warsaw Uprising when the Germans were destroying the city. I suspect similar descriptions exist of any hospital of a densely populated civilian area under siege. And, even if I was still bullheadedly in my Zionist era, I wouldn't have been able to simultaneously do the work I do, watch Israeli soldiers attacking hospitals, and emerge completely fine with everything. All of that doesn’t erase the simultaneous facts that: 1) the Holocaust happened and was a traumatic moment in Jewish History, the memory of which will endure throughout the millennia; and 2) the October 7 attacks were carried out by Hamas with genocidal intent.

What you’re seeing is people within our community dealing with cognitive dissonance. And honestly the experience of watching people lash out is stage 1 of that process (or as I call it, the Cognitive Dissonance Temper Tantrum). It’s no fun to witness, but can be positive if the person doing the temper tantrum chooses to learn from it. 

ETA: When I discuss things I felt/believed in my "Zionist Era," I'm discussing stuff from when I was like, under 21 years old. For reference I am currently 35.

No one has my permission to use my words to silence other Jewish people. You have no obligation to stick around for people having cognitive dissonance freakouts or saying shitty things about Palestinians, but I see part of my...duty as being available to work with Jewish individuals who want to deal productively with their cognitive dissonance once the freakout period dies down, if they want help.

*Here my Unnamed I/P Reader notes that it’s quite a bit more complicated than stated here in part due to Gaza’s pre-Oct. 7 2023 population density.

[archuprisinglyon]

Qu’est-ce que l’architecture vernaculaire ? (et pourquoi elle devrait faire son retour)

[polish-art-tournament]

paintings round 2 poll 55

Night in Ukraine by Stanisław Witkiewicz, 1895:

propaganda: dynamic and peaceful at the same time, you can really get lost in it

about the artist: He was kind of a snack, google him. Also, he was an architect and created the characteristic Zakopane art style by combining the traditional architecture of the region with art nouveau style.

submitted by @slaviclore :)

Italian cemetery at dusk by Adam Chmielowski, 1880:

propaganda: You need to see it live to really grasp the vibrancy of the colors and the deep, deep contrast. The clean line. And that luscious orange in GRAVEYARD LANDSCAPE. Like, if the dude haven't decided to drop out of Art University to become a saint his painting career future was BRIGHT.

about the artist: Adam Chmielewski (also known as Saint Brother Albert) - a guy who went to Art University, but after loosing leg in January Uprising and painting Jesus dedicated his life to charity, and was later announced saint.

submitted by @deesbullshitbonanza

[vague-humanoid]

Even in my own mind, I can feel cultural contours blurring as physical architecture disappears. And with it, so many other things are being erased – a sense of rootedness, of continuity, of a future. I look at my children and am chilled by the realisation that the very topography of Sudan, and the Arab world as I experienced it through literature, art and travel, is something they will never know. For them, the ties that bind them to their parents, as they bound me to mine, are being severed.

I sound like an old nostalgic woman now, I know. Singing the blues of exile, idealising a past that was always far from ideal, ready to annoy a new generation and tell them that it wasn’t always like this. Because I was once that new generation, listening to elders smoking Marlboro Reds and drinking tea and telling me it’s a shame you never experienced the heyday, when we used to study medicine in Baghdad for free, go to the theatre in Damascus, host Malcolm X in Omdurman. When we had behemoth publishing houses and a pan-Arab solidarity. I used to think, well, isn’t that failure yours as well? Because your class didn’t manage to translate that into a political project that wasn’t constantly hijacked by military men and dictators.

As the centre of political and economic power in the region shifts to the oil-rich Gulf states, which are becoming concentrated expressions of hyperconsumerism and modernity, I can hear myself also saying: “It wasn’t always like this.” It wasn’t always fashion shows, such as the one the Lebanese designer Elie Saab held in Riyadh last month, which dominated social media with videos of J-Lo and Céline Dion belting out their hits to domestic and global influencers. Or high-octane sports events and extravaganzas of glamour, as orgies of violence unfold elsewhere. It wasn’t always this urge to define our status according to how closely we aligned with superpowers, or this thirst to demonstrate our global tastes.

I am more forgiving now of those elders, and also want to tell them: you didn’t know how good you had it. I can see now that what I thought of as their failure was something far bigger, far more related to global alliances and domestic ones that prevented the emergence of popular uprising, or crushed it when it did rise up. Every protest was pitted against proxies.

[vajrapoet]

Infraperegrination of the Utter Islands

Want to make or run something in Hingsajagra? Check this out.

First order of business, the state of affairs for Hingsajagra.

The year 11664 is largely parallel to our world's 20th Century, but without the huge advancements into machinery (while industry being important). More importantly, the world is an industrialistic world but industry is forwarded by magick and war. Industrialized magick. The end of the world that follows after World War I vibes.

The world is mostly split into five eras, as reckoned by Shennin scholarship. The modern year is 11,664 of the Lotus Calendar. This puts it at the 243rd Cycle of History.

1 - Burgeoning Era (1000s to 7000s.) The Agricultural Revolution. The time of Chiefdoms, Warbands, roving eras, Naka Kingdoms, Yakka Kingdoms, Siyukuy Kingdoms, etc. This era ended during The Ultimate Cleave. The great apocalypse that split the Great Southern Continent from the Dakmalan Continent and turned it into a fractured archipelago.

2 - The Ancient Era (8000s-9000s). The time of Ancient Shen, Ancient Metoma, and Ancient Razru cultures. Widely accepted that the end of this era was during the Black Meteor Cataclysm, an ancient Metoman prophecy that came true. A meteor slammed into the earth and shattered the Utter Islands even more, into its modern geography.

3 - The Classical Era (9000s-10,000s). A time of great upheaval, but also the rise of classical cultures. The influential Old Razru Empires, the Asitowan Principalities, the Lotus States (filled with the Jing, Rak, Sanun, Si, and Yun ethnic groups, which would eventually coalesce under the Meteorite Emperor to become the Shen people), Utrang kingdoms, the Yagan Kingdom, the Meshiri Kingdom, the Yeung Kingdom, the Natara Kingdom, the Kamitan Communes, the Dakai Tribes, the first few Raga tribes, the Tawun Chiefdoms, and more. It is widely accepted that this time only ended after the victory of Shen and the World Collective against the Devil King Roghan.

4 - The Rebirth Era (10,000s to 11000). The Industrial Revolution. The Smith-Kings and the Merchant Princes created textile factories, weapon factories, and machine tools. Most significant was the invention of the Karma Engine. Surplus yields across all industries, creating industry, as well as machineway of engineering and architecture. This era is said to have ended with the first Uprisings against Kings, spearheaded by humanitarian sages that arose during the time of increasing industry.

5 - The Modern Era (11000s to 11500s). The Bourgeois Revolution. The merchant princes and machine-capitalists seized the means of production and operated from there, hiring and putting laborers to work them. The power of these engines and the strength of free market trade caused even gods (see: Hri Vaizzan the God of Merchantry), spirits, and monsters (yakshas, anjuras, uki, etc.) to be subsumed into the labor force. It is widely believed that this era ended with the overthrow of the monarchies that ruled for 2500 years, represented the most with the First Apocalypse with the consummation of the Heavenly Shennin Kingdom spearheaded by the Invincible Blade Princess the Empress of the Universe. On the Fire Dog Year 11512 Kafeng Masagwa and the Knights of the World set to motion the First World Revolution that shattered all bourgeois and aristocrat rule. It was not to last.

6 - The Revolutionary Era (11500s to 11607s). The Hundred Revolutions Era. With the power of factories, the proletariat of the world fought to consolidate power, but with Kafeng Masagwa's death and growing distrust in the Knights, the world alliance shattered into nation-states. The nation states fought separately for national liberation, explosive uprisings filled the 100 Year Revolution. This caused unprecedented global bloodshed and violence. Wars that ended all wars. Separated into nations, they were easily cowed and beaten into "Peace" through the concerted efforts of the International Bourgeoisie, headed by the Universal Capitalists and the Trillionaires of the Trichiliocosm, which would quickly vanish as they appealed to the people. In the guise of a successful revolution, the revolutionary efforts were cowed. This era ended with the rising of the efforts of the Second World Knights Coalition who tried and failed to bind the people together in the face of unprecedented genocide. This was the Second World Revolution, which failed.

7 - The End Of The World (11608 to modern day). The End of the World. The bloodshed of the revolutionary era ended the world. The international bourgeoisie, headed now by the Central Yavinian Guild of the Ressen-Nalenji Empire, penetrates the world and seeks to join it together under the guise of "After The End" where the world must rise. The revolutionaries have been defeated and stamped down, the majority of the people, tired of war, do not want any more revolutions. Communism and Revolution is seen with contempt, as "mountaineers" and "foresters." As banditry and piracy. As detrimental to human progress. Will you prove them wrong? Or finish the job? You know it deep in your heart that there's only one way for the new world to be born.

The Karma Engine

The most important invention of the Revolutionary Era. It resembles a giant spirit house but with the offering platform replaced with a closed in sacrificial furnace. There, little gods, weaponsouls, ghosts, sacrificial people, and mantra-mandalas are burned upon samadhi fires. Karma Engines are therefore a joint machinist-monk invention (and indeed, the patenter of the technology is widely agreed to have been Vajra Monk Rakan Jesung, who grew up in a working-class machinist family).

In doing their karma is converted into usable energy, often electrical energy or mechanical energy. The study of karma is known as Karmalogy in the world. In Karmalogy, karma is seen as the potential energy of existence and being itself, and many Karmologists posit that the entire current world of Hingsajagra exists because of the Karma of the past world. When sentient beings are sacrificed to the Karma Engine, this is seen as a painful but purificatory ritual, and is deemed ethical by many world faiths as the being that dies from the Karma Engine's samadhi fires is almost always reborn as a human due to the neutralizing of their karma. Many who have surplus good karma do not go through this, and so the majority of criminals and harmful animals are given to the Karma Engine.

Infrakarmalogists, however, put forth that there are abundant amounts of ambient karma that arises from the world itself, surplus karma that emanates from the deeds of the past world, and this can be used to power karma engines without voluntary suicide.

Magnetitologists have been creating Magnetite Engines, which seek to replace Karma Engines. Magnetite is widely believed to be the infrasubstance, the aggregates of atoms. A level above the smallest quantum, where the material dissolves from perception. Magnetite arises from places of intense emotion and thoughts, and so it can be mined from worship, war, joy, and other such sites of powerful explosive emotion. Currently magnetite is being used in socialist Hokou and in Selorong. The bourgeoisie that own Karma Engines (many of them non-religious themselves) have become ardent anti-magnetitians, and have begun slander campaigns against them.

Important Bans

No default fantasy. The major cultural power of this world is China, Thailand, and Indonesia. Use their medieval aesthetics to fluence and inform your End of the World depictions.

No "races." Elves, dwarves, etc. aren't demihuman races, they're completely different magickal beings and spirits. Lean on the folklore.

No automatic rifles. The extent of guns is matchlocks. The chemistry of the world does not allow for automatic weapons. Armamental Technology therefore is focused on blade-and-bow-technologies. Sappers are important industrialists. There are Sword Factories, Bow Factories. Cannons exist but these are few and far between.

No automatic vehicles. Keep the cavalry, the chariot, the dragonriders and the phoenix knights. But no cars. Keep the carriages and the boats.

No tanks. Tanks are replaced by magick mechs called Yakshamachines.

No Latin. If you want to look for a lingua franca that performs the duty of Latin, use either Sanskrit, Old Chinese, or Old Javanese. In the World, they're Ancient Razrunan languages or Ancient Rakeen languages [Rak is where the Meteorite Emperor arose from and he turned it into the Court Language for the First Dynasty]) Yes, you can in fact translate Latin phrases into one of those languages. Such as Shantim Krute, Yuddhaya Sajjah for If you want peace, para bellum. Or bajingan perang for casus belli. Ignore this for prefixes and suffixes (e.g., -istry, -ology, -onomy). Keep it for proper nouns that must come from an in-world language.

Everything else we can justify into a 20th century analog. A kind of perfect ideal is Late Medieval Warfare.

Features

Non-exhaustible list.

Buildings. Large rectangular buildings are a feature of only one world place. Tall multiple-roofed places are still built with either wood or skystone (a stone of colder make) that creates a facsimile of our world.

Expressways. Don't exist. The world is connected together by railways and riverways. Riverboats are cheaper to make and use than karmaboats.

Industry. Industry hinges on the karma engine rather than the steam engine.

High-rises. High-rises are crafted by ancient building-wizards. The majority of high-rises in the world are giant yaksha statues hollowed out and repurposed.

Automata exist but are rare. It requires decades of study for a wizard to reach automata level construction. Automaton wizards are known as automatists.

Industry. Almost everyone has swords, but these swords come not from the artisan but from the worker working the weapon-machines. Wagons and horse bridles, tiger-bridles, clothing... all the mass-produced clothing arise from a Manufactory. The machines here are often created by either wizards, machinists, or gods and made to be owned by capitalists and merchants.

Inspirations and Approximations

Each major region is inspired by the following regions, though they're not exactly those regions. It would be impossible to fully map any of the regions accurately to a real world culture because of the difference in material conditions, but you can use the following for aesthetic, cultural, and religious inspirations.

Temog Ra-Om, the Charnel Isles, Pemi, and the Heavenshards are inspired by Maritime Asian cultures, Southeast Asian cultures, and Pacific cultures. This includes coastal Vietnam and Thailand.

Hiraga Ra-Om's southern coast inspired by inland Myanmar, Thailand, Laos, Cambodia, and Vietnam. Further up north it is inspired by China, Korea, Japan, Mongolia, Tibet, and other Central Asian cultures.

Jagged Swordfields people are inspired by Russo-Siberian people.

North Wadzara is inspired by Japan and West Coast America.

South and Eastern Wadzara is inspired by mixing Arabia and Central America.

Southern Nilatpa is inspired by the Indianic cultures.

Western Nilatpa is inspired by Spain, Germany, and France.

Central and Northern Nilatpa is inspired by Italy, England, and Danish cultures.

[psychologeek]

Free!

"Leave our country alone!" they say "This isn't your land - go back to where you came from!"

And as my brother's being shoot, And my sister's being paraded naked - For their great sin of: living [Re'im, Israel, 2023]

As my great-grandfather was pushed down in the streets And his beard was brutally shaved As they raped and enslaved and murdered- [Birkenau, Poland, 1943]

[just like in 1941 Farhud, Iraq ; Jedwabne pogrom;  1945 Tripoli pogrom, the 1946 Kielce pogrom, and the 1947 Aleppo pogrom]

In 1934 there were pogroms against Jews in Turkey and Algeria.

Other parts of my family were lucky enough to survive the 1929 Hebron massacre during the 1929 Palestine riots. [Mandatory Palestine under British administration]

In 1919, soldiers marched into the center of town accompanied by a military band and engaged in atrocities under the slogan: "Kill the Jews, and save the Ukraine." They were ordered to save the ammunition in the process and use only lances and bayonets during the Proskurov pogrom.

[Proskurov, Ukraine, 1919]

[100 years, and nothing changed, huh?]

You know, my grandma's arab. I still remember sitting in class in high school, hearing about the 1840 Damascus affair, and thinking: hu.

I'll skip several years and countries, but:

Their grandparents were there to witness as the outbreak of violence against Jews (Hep-Hep riots) occurred at the beginning of the 19th century.

The 1821 Odessa pogroms marked the beginning of the 19th century pogroms in Tsarist Russia

That's  Khmelnytsky Uprising of 1648–1657 in present-day Ukraine.

So they said, during the attacks against Jews also took place in Barcelona and other Catalan cities during the massacre of 1391.

Their ancestors were cast away and murdered in Spain, 1492.

The same way we were banished and cast away from  Bern (1427) and Zürich (1436) for almost 400 years?

Let us not speak of  the alaughter on Holy Saturday of 1389, a pogrom began in Prague that led to the burning of the Jewish quarter, the killing of many Jews, and the suicide of many Jews trapped in the main synagogue; the number of dead was estimated at 400–500 men, women, and children.

Brussels massacre of 1370.

Or - do you want to hear about the 510 jewish communities that were destroyed? (1348-1350)  including in Toulon, Erfurt, Basel, Aragon, Flanders[16][17] and Strasbourg.[18]

Just like Rhineland massacres in 1096

Some of them made it to England, around 1060. It took less than 30 years for the first Podrom in 1189-90 in England, 

Oh, and let us not forget 1066 Granada massacre [again, in Spain].

Or the  Alexandria in the year 38 CE, followed by the more known riot of 66 CE.

The Jewish population of the land on the eve of the first major Jewish rebellion [66 CE] may have been as high as 2.2 million. The monumental architecture of this period indicates a high level of prosperity.

In 66 CE, the Jews of Judea rose in revolt against Rome, sparking the First Jewish–Roman War. The reverse seized control of Judea and named their new kingdom "Israel"

The revolt was crushed by the Roman emperors Vespasian and Titus. The Romans destroyed much of the Temple in Jerusalem and took as punitive tribute the Menorah and other Temple artifacts back to Rome. Josephus writes that 1,100,000 Jews perished during the revolt, while a further 97,000 were taken captive. The Fiscus Judaicus was instituted by the Empire as part of reparations.

[And here we come to a full cycle of blood, land, and pain].

And those are only those I found out about. Only those we have a record of. Only those we know to this day. They were so massive, or left enough impact so we still remember.

[I could go on, this is just a short list.]

It seems like no matter what we do, we'll always be accused for

Let me know, please - where can I be a jew, and just

Live?

[blueiscoool]

The Roman Republic Crushed a Rebellion So Completely That This City Became a Landfill

Researchers studying the ancient site of Fregellae reveal the consequences of challenging the Roman army

Archaeologists have just uncovered an ancient city that the Roman army so thoroughly besieged that it was left uninhabited for nearly 200 years.

Researchers from the Leibniz Center for Archaeology (LEIZA), have long believed that the ancient city, Fregellae , was once allied with Rome, until residents rebelled against the republic around 125 B.C.E. But historical records from the time of the siege are quite sparse, and the center has been engaging in archaeological research to learn more about the rebellion.

"It is only mentioned in two or three sources," Dominik Maschek, an archaeologist with LEIZA, tells Live Science’s Tom Metcalfe. "We hear about the siege, they tell us these people rebelled against the Romans, but we don't know why."

Fregellae sat about 60 miles outside of Rome and was established as a Roman colony. Scholars hold a few theories as to what could have caused the uprising, including the desire for expanding human rights like land ownership and full citizenship.

The conflict took place while Rome’s consuls were waging a military campaign elsewhere. This timing could have been strategic, as the residents of Fregellae may have believed the government lacked the resources to dispatch another army.

Unfortunately for them, the empire was more than prepared. Archaeologists discovered a Roman military camp outside of the city, surrounded by a ditch and rampart. They believe that the camp was created for the siege.

“The violent destruction caused lasting damage to the entire economy of the region,” Maschek says in a LEIZA statement. “The landscape remained uninhabited for over 170 years until the area was finally used as a rubbish dump.” (Small pottery shards at the site discarded years after the siege, reavealed that the area became a landfill.)

In addition to the smaller fragments, researchers also found larger pottery pieces that were part of large vessels that stored produce. Ancient seeds at the site indicate that they were housed in a villa used to cultivate fruit, grain and wine. “The wine was probably not only produced for the local market,” says Mascheck via Google Translate in the statement. “It is quite possible that it was traded within Mediterranean exchange networks as far as Spain and France.”

The villa, the oldest in the city that archaeologists have found, was built 80 years before Fregellae’s siege. A layer of fire damage points to the fact that the Romans attacked the building and its crops at the same time as the city.

“It’s fascinating that we were able to uncover the architectural structure of such an early production site,” Maschek adds. “Despite traces of fire and the almost complete removal of the building materials, the finds offer valuable insights into the rural life and economic activities of the inhabitants at the time.”

By Julia Binswanger.