#continous integration

[apexon-digital]

Unlocking the Future of IT with Platform Engineering Strategies

As businesses push toward digital transformation, platform engineering has emerged as a key driver of efficiency, agility, and scalability. A well-implemented platform engineering strategy can streamline software development, enhance collaboration, and reduce operational complexities. In this blog, we'll explore the latest platform engineering strategies that can help organizations stay competitive and innovate faster.

What is Platform Engineering?

At its core, platform engineering is the process of designing and building technology platforms that empower development teams to deliver software faster and more efficiently. This discipline involves creating a shared infrastructure and set of tools, allowing engineering teams to focus on writing code rather than managing environments.

1. Adopt Infrastructure as Code (IaC)

One of the most crucial platform engineering strategies is adopting Infrastructure as Code (IaC). By automating infrastructure provisioning, IaC reduces the risk of human error and ensures that development environments remain consistent. Tools like Terraform and AWS CloudFormation have become industry standards, enabling teams to version control their infrastructure just like they do with application code.

2. Implement a Self-Service Platform

Another key strategy in platform engineering is building a self-service platform for development teams. These platforms can automate repetitive tasks, such as environment provisioning, application deployment, and monitoring setup. A self-service approach empowers developers to quickly access resources without relying on centralized IT teams, speeding up the software delivery process.

3. Embrace Observability

With increasing system complexity, observability is becoming an essential part of any platform engineering strategy. Implementing comprehensive monitoring and logging tools like Prometheus, Grafana, and ELK Stack ensures that teams can detect, troubleshoot, and fix issues before they escalate. This approach reduces downtime and also enhances system reliability.

4. Microservices and Containerization

Microservices and containerization, facilitated by technologies like Kubernetes and Docker, have become foundational in modern platform engineering strategies. These technologies allow organizations to build scalable, modular applications that can be updated independently. Container orchestration platforms enable automated scaling, health checks, and rolling updates, ensuring continuous delivery and minimizing disruptions.

5. Security by Design

Security should be embedded into every layer of your platform engineering process. From automated security checks in CI/CD pipelines to integrating tools like Vault for secrets management, security by design ensures that your infrastructure and applications remain secure throughout their lifecycle. A robust platform engineering strategy includes continuous vulnerability scanning, threat detection, and incident response.

6. Collaboration Between Dev and Ops

Successful platform engineering strategies hinge on strong collaboration between development and operations teams. This is where DevOps practices play a pivotal role. By adopting a DevOps culture, teams can align their goals, improve communication, and work together to streamline software delivery. Platform engineering acts as the enabler of DevOps, providing the infrastructure and tools required for automation and seamless operations.

7. Continuous Integration and Continuous Delivery (CI/CD)

Automation is the backbone of any modern platform engineering strategy. Implementing CI/CD pipelines allows for continuous testing, integration, and delivery of code. Platforms like Jenkins, GitLab, and CircleCI enable development teams to release features faster while maintaining high-quality standards.

8. Scalability and Performance Optimization

A vital component of platform engineering is ensuring that the infrastructure scales with the growing demands of the business. Utilizing autoscaling techniques and performance optimization tools like AWS Auto Scaling, load balancers, and CDN integration can ensure high availability even during peak loads. This proactive approach guarantees optimal performance and prevents bottlenecks.

Conclusion

Platform engineering is not just a buzzword—it's a transformative approach that empowers organizations to innovate faster, reduce operational complexity, and scale efficiently. By embracing strategies like IaC, microservices, observability, and DevOps, businesses can create a solid foundation for digital transformation. With the right platform engineering strategies, organizations are better equipped to stay ahead of the competition and build robust, scalable, and secure systems.

[hiddenbysuccubi]

Veilguard gives me regret for what could have been. But I just replayed Inquisition for the first time since it came out and romanced Solas for the first time and so Veilguard at least attempts to give back the feels. The writing deserved better. The pathways and politics and oppression in the previous games deserved a presence and real resolution in this last game. It deserved to be as mature and deep and painful as before. Though I digress. That's what I'm on ao3 for.

[cecilialibre]

Original artwork, mural, commissioned

Acrylic on canvas

7 feet by 10 feet

In the permanent art collection of the University of Texas at San Antonio

[arinzeture]

The Unyielding Spirit of Pan-Africanism: Lumumba, Sankara, Gaddafi, and Nkrumah Live On

Juba Global News Network, May 27, 2025

Patrice Lumumba, Thomas Sankara, Muammar Gaddafi, and Kwame Nkrumah—four towering figures of Pan-Africanism whose lives were cut short by violence and betrayal, yet whose dreams of a united, self-reliant Africa endure. Though imperialist forces and their collaborators silenced their voices, they could not extinguish the soul of their vision: a continent free from neocolonial exploitation, united in purpose, and empowered to shape its own destiny. Their legacies continue to inspire Africans and the diaspora, a testament to the resilience of their Pan-African ideals.

Patrice Lumumba, the first Prime Minister of the Democratic Republic of Congo, was assassinated on January 17, 1961, at the age of 35, barely seven months after leading his nation to independence from Belgium. Lumumba’s vision of a sovereign Congo, free from Western exploitation of its vast mineral wealth, made him a target. His fiery speeches, calling for African unity and economic independence, alarmed colonial powers and their local allies. The CIA and Belgian authorities, fearing his influence, orchestrated his murder, with complicity from Congolese rivals. Lumumba’s body was dismembered and dissolved in acid, a brutal attempt to erase his legacy. Yet, “They killed Lumumba’s body, but his soul fuels Congo’s fight for true freedom.” His dream of a united Africa, unbowed by imperialism, continues to inspire activists demanding justice for Congo’s plundered resources.

Thomas Sankara, Burkina Faso’s “Che Guevara of Africa,” was gunned down on October 15, 1987, at 37, betrayed by his comrade Blaise Compaoré in a coup backed by France. As president from 1983 to 1987, Sankara transformed Burkina Faso through self-reliance, rejecting foreign aid, promoting local production, and empowering women. His Pan-Africanist vision rejected neocolonialism, famously declaring, “He who feeds you, controls you.” Sankara’s policies, including land reform and anti-corruption measures, threatened Western interests and local elites. His assassination, orchestrated with foreign complicity, aimed to bury his ideals. Yet, as a recent X post notes, “Sankara’s spirit lives in every African youth fighting for dignity.” His call for African unity and economic sovereignty resonates in movements across the continent.

Muammar Gaddafi, Libya’s leader from 1969 until his brutal killing on October 20, 2011, was a polarizing yet pivotal Pan-Africanist. Gaddafi envisioned a United States of Africa, advocating for a single currency, army, and government to counter Western dominance. He funded the African Union and supported liberation movements, earning both admiration and enmity. NATO’s 2011 intervention, backed by the U.S. and France, led to his lynching by rebels, a spectacle meant to crush his vision. Libya’s descent into chaos followed, exposing Western motives tied to oil and geopolitical control. “Gaddafi’s dream of African unity was his death sentence, but his ideas still haunt the imperialists.” His push for African self-reliance continues to inspire those resisting foreign interference.

Kwame Nkrumah, Ghana’s first president and a founding father of Pan-Africanism, was overthrown in a CIA-backed coup in 1966 and died in exile in 1972 at 62. Nkrumah’s vision of a united Africa, articulated in his book Africa Must Unite, laid the groundwork for the Organization of African Unity (now the African Union). He championed industrialization and economic independence, challenging Western exploitation. His ousting, supported by local elites and foreign powers, aimed to silence his call for continental solidarity. “Nkrumah’s soul lives in every African dreaming of unity.” His ideas continue to shape discussions on African integration and sovereignty.

Lumumba, Sankara, Gaddafi, and Nkrumah were targeted because their visions threatened the neocolonial order. Their killers—colonial powers, their proxies, and complicit African elites—sought to erase their influence, but the soul of Pan-Africanism endures. These leaders’ dreams of a united, self-sufficient Africa, free from exploitation, resonate in today’s struggles against foreign interference, from the CFA franc to resource plundering. Across social media, their names are invoked as rallying cries: “They killed your body, but your ideas are immortal.” Movements in Burkina Faso, Mali, and beyond, rejecting neocolonialism, echo their legacies, proving that while bodies can be destroyed, the spirit of Pan-Africanism remains indomitable.

Patrice Lumumba, Thomas Sankara, Muammar Gaddafi, and Kwame Nkrumah were murdered to suppress their vision of a united, liberated Africa. Yet, their ideas—rooted in sovereignty, unity, and resistance to exploitation—continue to inspire a new generation. From Congo’s fight for resource control to Burkina Faso’s push for self-reliance, their dreams live on, untouchable by those who sought to kill them. As Africa navigates modern challenges, the soul of these Pan-African giants remains a guiding light, urging the continent toward true independence.

[chushanye]

one of the reasons I really like steampunk as a story setting is because it's the ideal for critiquing capitalism - particularly with how it relates to and is intertwined with the industrial revolution. it's a well known fact that Brennan is fantastic at this, and there are already interesting concepts to chew on:

The Gotch family's sponsorships of expeditions which you can take to be about artists and/or scientists and how integral it is to keep creative and curious people doing what they do -> for advancement and for joy

Widow's Breath being a clear commentary on unsustainable fuel and energy sources. With the added layer of governments using substance dependance as a form of control over their citizens.

Van's arm + the Imperial soldiers needing Widow's Breath to breathe + how many characters have winged gadgets -> what disability means for this world. It's interesting watching how "easily" aid is given in this world - and on what conditions and at what cost.

What I hope they get into more is the implications of "discovering" a new continent. Since again, with industrialization being such an important marker how does that tie into colonialism - we can assume several partied would want to exploit Zood for profit.

[belovedivies]

syndrome ft. thaddeus

cw: minor spoiler, pining.

Thaddeus eluded you.

The same way people did him, honestly.

But then there was you again, and you had just kind of been there; standing by Raphael’s side like a loyal dog since day one. Never frowning, never raising your voice. And he didn’t think he minded it, not really. He liked that your serenity balanced out the semi-man-child whom Thaddeus now called his new boss. You were soft, gentle, benevolent. Maybe only at times. Greeting him whenever he passed by you in the hallway. Laughing at his stupid jokes. Humming a foreign song under your breath that the Apostle didn’t recognize.

One less eggshell to walk on, yet two ticking bombs remained.

He liked your eyes too. Shining, dazzling, so unlike Raphael’s. The redhead only felt that familiar twinge of annoyance when you gazed up at the man you called your little brother with so much love and care. Like you were willing to hang the moon and stars for him. And Thaddeus wasn’t jealous, not really. Raphael was your flesh and blood; it’s only natural that devotion would dig deeper than any shovel or sword could.

But you only had that impenetrable smile on these days. Moving with grace and gold. Keeping your distance. He couldn’t even hold a conversation for longer than one minute before you excused yourself out of the room, not sparing him another glance.

—

Your indifference bothered him.

Made him feel like he was a snot-nosed brat all over again, struggling to survive in that dog-eat-dog shithole he reluctantly called a family. Years ago, when you took the knife out of Raphael’s hands and dug the blade into Father Gabriel’s heart for him, Thaddeus was stuck kicking his legs somewhere far away until his limbs were bent at an inhuman angle, his lungs burning for air. But he pushed through the pain, the tears, the blood early on. He had to become the strongest.

For what, a six-year-old him once pondered.

Sitting by the pond in the garden and swinging his legs in a pair of dojo shoes he had soon outgrown. Martial Arts is about the body and the mind. Integrity, courage, respect. He never intended to frighten others and should have never been considered a weapon of destruction either. But then came the power. The control. The entire continent soon bowed to the King of Kowloon, and Thaddeus was nothing short of elastic.

As much as he hated to admit it, the fight with your little brother knocked some sense into his thick skull. The Apostle didn’t even have time to process his defeat before Raphael wrapped him up in a white body suit that made him look like a goddamn psych ward patient, heavy chains bidding his legs together and keeping him suspended in the air. Thaddeus refused to yield then, gritting his teeth and cursing out strings of profanity that he wasn’t taught before. He fussed, yet Raphael was barely fazed. The punishment didn’t come right away.

It was the days after that.

Days when he was all alone in the base with nothing but his thoughts for company. Thaddeus kept his head hung low and just stared blankly. He felt like a slab of meat. Static noises played on repeat inside his head; and he was okay with that, really. He didn’t want to think anymore.

The hours were so long that he stopped counting. Only then did sleep eventually claim him—a stuffy, dreamless slumber.

—

The redhead didn’t know how long he had been unconscious. But when he woke up, he found himself on the ground; the chains and ridiculous costume miraculously all gone. He was resting his head on something soft too. Thaddeus’ mind tutted its alarm late, but when it did, his body shot up as if struck by lightning and muttered up whatever little strength was left to put some space between him and this unfamiliar presence. Yet the second he attempted to move, his vision started spinning. A stabbing discomfort gnawed on his nape, and Thaddeus realized he was hit with the worst neck pain ever.

He was going to fall at this point. Crashing face-down on the ground like a pathetic loser. The Apostle’s legs wobbled like overcooked noodles as he braced himself for the fall that never came. Instead, he found himself on his back once more, wondering if his body had even moved an inch in the first place.

But there was you, staring down at Thaddeus with a smile.

“Welcome back,” he hadn’t heard any voice in days, much less one as pleasant as yours. The way your hands cradle his face felt like a hug on a winter day. When you shifted, Thaddeus’ stomach did a weird twist.

You didn’t seem to mind him gaping at you like a dead fish, tilting forward with that same mysterious quirk on your lips. Your hair falls around him in soft curtains, blocking the flicking lightbulb ahead that was starting to hurt his eyes.

“How are you feeling?” Your fingers weaved through Thaddeus’ hair. And it felt good, so good he thought he could fall asleep again right here, with his head on your lap. The stinging pain at the back of his nape went away almost instantly when the tips of your digits grazed through the spot.

He opened his mouth, trying to get the words out. It’s useless; his throat was so parched. Thaddeus guzzled the bottled water you handed him in less than two seconds, not caring if his whole face was drenched too in the process. He heard a giggle from you, sounding like mist drops on leaf dripping down a pond.

You came here by yourself.

That much he collected when you pat his face dry with a handkerchief, the silver cross embroidery at the edge tickling his jawline. The movement was still nothing but gentle, yet Thaddeus noticed the corner of your smile turning icy. You came alone, but not without purpose.

“What do you want?”

It might be a little too late, but his inquiry came out nonetheless. Thaddeus tried propping himself up with his elbows but soon realized they were shaking.

At the question, your head tilted to the side ever so slightly. Legs tucked under your thighs in a too-expensive dress. Not a single wrinkle or hair out of the place. Unfeeling. Unmoving. Pupils blown wide like a doll’s.

“I came to check up on you!” You sing-song, beaming too bright, too superficial he had to stop himself from cringing outwardly. “Sit up.”

The command barely registered in his weary mind when Thaddeus felt his body moving on its own, and he was sitting face-to-face with you.

The smile you gave him was nothing short of satisfactory. Eyes glinting with mirth. Like he was a puppy and just did something endearing.

“Here,” something warm slipped down his throat; soup? Thaddeus blinked in awe, feeling the herb soothing his deserted taste bud. He hadn’t eaten anything for a whole week, “how does it taste?”

“G-Good.” His response came immediately this time, albeit rasped and still shaky. But you didn’t mind, feeding him another spoonful of dumpling that he eagerly bit into. Thaddeus was left starved, and he was gonna rot here to death if you didn’t come.

You were technically his savior.

And you looked pleased too, letting him have the rest of the bowl until it was empty. Wiping his mouth clean. Guiding him to lie back on your lap. You were warm, so perfect. Thaddeus wondered why he wanted to get away in the first place.

“It will get better,” you hum, running your hands through his hair, “once you move in with us.”

Thaddeus perked up at the last part, meeting your eyes. Your gentle smile remained as your fingers slipped underneath his bangs, resting on his forehead. “Have you thought about what he said?”

He did.

More than he begrudged to relent. Between the endless hours hooked up to the ceiling and nasty bug bites bruising his skin, Thaddeus didn’t have much of a choice. If he somehow walked out of here alive, he would be dragging his feet until the friction scoured the heel of his shoes. Bitter. Humiliated. He didn’t want to be reduced back to the disappointment he was back then.

He needed to be strong.

“Good boy.”

Taking his silence as an answer, you giggled and ruffled his hair. For once, he was sure he had made the right choice.

—

Thaddeus was all over you. In the hallway, in the garden, in between those meetings he rarely ever showed up. Always saying your name with an ear-splitting grin. Always have something to say. A stupid joke to tell.

You never seemed to mind it. You never even liked him to begin with. But he felt comforted when you were there, passing him by like an invisible wall. Thaddeus remembered the way your hands felt on his skin that day. He wondered just what he had to do to have you close again, looking at him like he was precious. Like he meant something.

Raphael was so gonna kill him.

♡dividers credit: @strangergraphics-archive♡ ♡masterlist♡

[mynqzo]

Since you are an expert on vampires (at least well informed and properly presenting sources), I wanted to ask if it made sense for the term "vampire" to exist in the middle ages, specifically the first half of the 13th century. I'm asking because I'm playing in the VtM setting of Dark Ages, which is canonically set in the year 1242 and I was wondering about that

Thank you for the question! Hopefully I can provide a good response (although remember this information is a grand generalization and sources are linked for you to look deeper)

Okay so for a little backstory of the word vampire - There is not a decided 'canon' for it's etymological origins but a few linguists have delved into it's theories, such as Franz Miklosich (or; Franc Miklošič). He, in his work “Etymologie der Slavischen Sprach” theorized that the slavic synonyms ‘Upior’, ‘Uper’ and ‘Upyr’, are all stemmed from the Tatar Turkic word for witch- ‘uber/ubyr’. Montague Summers states in his book 'The Vampire: His Kith and Kin' -

The most wildly accepted form of the word's origins are however from the Serbian word Bamiiup- Miklosich also relays that this word could be a 'transmittor'

Essentially, a lot of different words went through a lot of different variations and translations as the myth of the unread blood-sucker spread over the greater European continent as well as reached it's way across the sea to the Americas. But most importantly - the word vampire wasn't properly dissected the way it is being in more modern times and it wasn't until the 18th-century that variations of the word 'vampyr/vampyre/vampir/vampire' were used wildly.

Katharina M. Wilson states in 'The History of the Word "Vampires"' (a massive and great source used in many other articles on entomology, I mean seriously I encountered her being used as reference multiple times) "In sum, the earliest recorded uses of the term "vampire" appear in French, English, and Latin, and they refer to vampirism in Poland, Russia, and Ma- cedonia (Southern Yugoslavia). The second and more sweeping introduction of the word occurs in German, French, and English, and records the Serbian vampire epidemic of 1725-32."

The word 'vampire' (written as vampyre), while these vampire epidemics were at their height in Europe, was first seen in English in 1732 actually and began then to be more widely used, here is a 1734 book by Michael Ranft that has it in it's title!

To put a long explanation short, the word vampire was not used in the medieval ages. But other words that signal to us modern folk that certain creatures were vampires were definitely used, all because of the Christian Church.

So during the medieval times, instead of vampire it was a minion of the devil, a revenant, a ghost, an undead, some sinning spirit or corpse. Vampire's weren't internationally associated with drinking blood until later publications of literature, they were more like zombies and spirits who consumed people's life essence or came after them in their undeath, and the soul sucking would sometimes be accompanied by blood sucking, since blood was an integral part of a person's body not just medically but in the sense of religion and what distinguished a human from a demon.

While the word was not use the appearance and disposition of of these creatures was very much what we can tell is the tall-tale sign of the vampire myth solidifying. "The Vampire Myth and Christianity" by Dorothy Ivey uses the book 'Medieval Folklore: A Guide to Myths, Legends, Tales, Beliefs, and Customs' by Carl Lindahl, John McNamara and John Lindow (tried to find the book online myself but no luck so I'm quoting Ivey quoting Lindahl and others) as a source and writes “a revenant, reanimated corpse, or phantom of the recently deceased, which maintains its former, living appearance when it comes out of the grave at night to drink the blood of humans.” and further more “lack of decomposition or rigor mortis, pallid face, sharp protruding canine teeth." the book further describes the traits of a vampire having to return to it's coffin at daybreak and that a person is turned vampire by consuming the creatures blood/being bitten. (remember, me and sources/refs are using the word vampire for convenience, not because it was said or written, they were still creatures/spirits/satan's spawn)

Important to note, the Bubonic Plague raged across Europe from 1346 to 1353, the number of corpses and diseased were so plentiful that a lot of bodies were dumped in shallow graves and given in-proper burials, which spiked the myth of them coming back as vampires. It didn't help that the disabled/impaired were viewed horribly during these times. People who were sick from old age, diseases and chronic conditions were treated with the same disgust and repulsion and those who were seen as 'wrong' in the eye of the Church. The vampire myth was an excellently awful tool used by the medieval Church to further their own agenda and power. Ivey writes it perfectly:

So - demons, revenants, spirits, sinners, undead, sick/disabled people, improperly buried corpses etc were core parts of this 'evil'. An example I remember from this work also hones in on the 'improper' buriel aspects that would turn a person into a vampire. People who were aforded proper christian burials were pious god-fearing folk, those who followed the Churchs rulings and therefore were buried in a Church graveyard. People who were given improper funerals were whose who had sinned, were not christian, were, as discussed above, disabled, 'wrong', had committed suicide etc and therefore were not buried in Church ground and therefore were more likely to come back as demons lackeys and revenants.

The idea of a vampire had widely existed though, from the Greek Vrykolakas to the Nordic Draugr, but in summery, the word vampire did not exist as we know it back during the Medival ages.

And lastly, I feel like this writing by Gemma Hollman in 'Medieval Vampires' summarize the vampire situation during those times quite well

Hope you found this blabbering useful!

Sources:

Justhistoryposts, V. a. P. B. (2024, December 18). Medieval Vampires. Just History Posts. https://justhistoryposts.com/2016/11/01/medieval-vampires/

Matczak, M., Kozłowski, T., & Chudziak, W. (2022). multidisciplinary study of anti-vampire burials from early medieval Culmen, Poland: were the diseased and disabled regarded as vampires? Archaeologia Historica Polona, 29. https://doi.org/10.12775/ahp.2021.012

Ivey, D. (2010). The Vampire Myth and Christianity. Rollins College Rollins Scholarship Online. https://scholarship.rollins.edu/cgi/viewcontent.cgi?article=1015&context=mls

Wilson, Katharina M. “The History of the Word ‘Vampire.’” Journal of the History of Ideas, vol. 46, no. 4, 1985, pp. 577–83. JSTOR, https://doi.org/10.2307/2709546. Accessed 29 May 2025.

Summers, M. (1929). The Vampire: his Kith and Kin. Notes and Queries, 156(6), 107. https://doi.org/10.1093/nq/156.6.107b

Mutch, D. (2012). The modern vampire and human identity. In Palgrave Macmillan UK eBooks. https://doi.org/10.1057/9780230370142

Frayling, C. (1991). Vampyres : Lord Byron to Count Dracula. https://ci.nii.ac.jp/ncid/BA14229568

[utilitycaster]

I wanted to explore the idea of people who dislike C3 not engaging with its themes because I haven't actually seen anyone making the argument give a full rundown of said themes, and this may end up being several posts. I'd like to start with anticolonialism. Perhaps it is a theme; if so, I think it's presented exceptionally badly, in a way that appeals uniquely to white westerners desiring to see themselves as a combination of victim and savior, rather than as a complex issue in a story centering the colonized. It got very long, so it's under a cut.

If this is the theme with which we as the viewers are not engaging, I'd argue neither is the work itself - it's largely projection. As many others have pointed out, the use of Marquet, a setting inspired by Africa and Asia (and presented in a highly stereotyped and Orientalist way in Campaign 1 no less) as nothing more than a casual backdrop with little engagement with the cultures present, and with much of the story elsewhere, undercuts that badly. I'd actually argue this is a recurring issue with Critical Role's works; Ank'Harel appears and is even fleshed out more in Call of the Netherdeep, but the story follows, and mostly takes place, among the Calamity-era ruins being excavated and amid faction squabbles concerning them. The culture and politics of Ank'Harel remain a distant second to the greater mythology of the Calamity, and again, after the society and culture and everyday people of the more European-inspired Wildemount took such a front seat in Campaign 2, it seems like a worrying pattern. Given the increased sensitivity and investment towards the cultures based on those in our own world that (for the most part) did the colonizing, and the "set-dressing", as others have called it, status of Marquet, perhaps this world is not a good one to tell that story. What's also interesting, and telling, is that the African and Asian - especially West, South, and Southeast Asian - was even a defense within the fandom: the reason so few of Bells Hells were from Marquet, we were told, is because the cast is white. In that case, and given how Marquet is so poorly integrated into the story that multiple beats relying on knowledge of the Apex War fall flat, why didn't we set this in Issylra (notably, the continent in which modern, mortal-driven occupation efforts are occurring)? And more importantly why are we trusting a group nearly entirely made of white culturally Christian Americans to tell what is argued to be an exceptionally leftist story on religiously-motivated colonialism if we can't even trust them to play a character from a real-world culture heavily impacted by said colonialism?

Another rather significant wrinkle is the fact that those wishing to release Predathos in the service of destroying the gods were happily working with the Kreviris Imperium, who desired to colonize Exandria. Remember how everyone was just talking about how the poor Ruidians would die if the planet were destroyed and how they're the victims in all this (and honestly, I don't disagree that the commoners of Ruidus, especially those without psychic powers, have a uniquely rough deal) when the planet cracks? Well, let's talk that through. I think the role of the Vanguard's Ruidusborn in this is rather important, ie, if they are throwing off the colonialism of the gods (to be discussed later whether I consider that valid), they are doing so by stepping on the necks of the common people of Ruidus. And if those people will be doomed by the release of Predathos, it is Bells Hells who doomed them.

The people of Ruidus were told of their manifest destiny of the Blue Promise by their governing body (which also served, effectively, as religious leadership, with mind control). I think "Propaganda" is a poor real-world metaphor for "sends dreams of the land promised to you each night, making you both jealous of what they have and very much influenced by their culture, while you have no dreams of your own" but it's the best I have, but that itself occupies an interesting space. It's a great beat for sf, but this actually leads to a rather worrisome metaphor regarding the nature of cultural influence (which was spoken of on a 4-sided Dive and is often cited here, and I think the way it's discussed fails to consider the implications). The idea of cultural hegemony and globalization is a very real one. It can occur within one's country (I, a non-Christian American, am well acquainted with many Christmas songs and traditions and am given Christian holidays off work but must use vacation for my own). It can also occur outside of it, as with globalized beauty standards - white ideas of beauty leading to light skin being prioritized in India, or double-eyelid surgery becoming common in South Korea. The situation on Ruidus therefore has some interesting implications. What does it mean for them to have inherited culture from Exandria - but at the hands of their own government that seeks to colonize Exandria? Is this a good way to explore these topics, when Exandrians are neatly excluded from the spread of their own cultural hegemony (as they had no idea) and are also poised to become the victims in this colonization? This idea, incidentally - that the people of Exandria exist in an impossible in-between space in the colonization metaphors, blameless victim yet free from the ugliest consequences of being a colonized culture - will recur, and I think that is the most damning evidence that this is at best a story of anticolonialism stripped of nuance and complexity.

In a further exploration of the cultural impact of colonialism, what does it mean that, again, I, Jewish from birth and raised in a Jewish home and sent, even, to a Jewish school through middle school (though not a Jewish preschool) have a pretty thorough knowledge of not just Christmas songs, but could probably name a bunch of individual Christian denominations and maybe even the intricacies in how they depict their crosses - while generally having freedom to practice my religion within the dominantly Christian US, if not equality in doing so - but Bells Hells, living under the presumed thumb of the gods, can't reliably tell their symbols or domains? Others have already covered this but if the gods are the dominant force, why have Bells Hells managed to largely avoid any actual consequences for godlessness other than "when I asked for something, I didn't get it?"

Why have all the governments we've seen, save Vasselheim (which, again - we haven't ever spent a ton of time in, so why did we go to Marquet again?) failed to convey religious dominance at the hands of the gods? The Clovis Concord, Tal'Dorei, Whitestone, Niirdal-Poc, Syngorn, and as far as I can tell Ank'Harel, Jrusar, Bassuras, Court of the Lambent Path, and the Stratos Throne (and if the latter isn't then Imogen and Ashton grew up in its borders without any religion forced upon them) are all secular governments that at most have outlawed Betrayer God worship. The Empire (in which Ludinus Da'leth has been a major political force for centuries) has strong restrictions on worship of all but six gods, and if you look at the first Tal'Dorei Campaign setting, it was at the timed conceived of as banning all deity worship. The Dynasty is a theocracy for a non-pantheon entity, engaging in missionary work but largely depicted as (if I may, oddly) devoid of violence. While Uthodurn's King Imathan Talviel is himself a worshiper of the Arch Heart, Uthodurn appears to have no state religion. Indeed, I'd say, as again, someone of a frequently persecuted religious minority, who lives in a country with a dark history of forced conversion of the native colonized people into Christianity [the Native American residential school system] I'd say that for a world in which the gods are objectively real? Exandrian governments are bizarrely lenient and bloodless when it comes to religion. Only the Dynasty even has a state religion of the aforementioned locations, and they don't even outlaw worship of non-Betrayer gods. The Empire, Concord, and Dynasty have, at most, fines or incarceration for worship of illegal deities. Hearthdell lost more people from their own attack and from the people teleported away by the solstice than from the missionary work; you think the might of Vasselheim couldn't have slaughtered the entire town if they went in? The only places we know of as even possibly more brutal are the Betrayer-worshiping Iron Authority, which remains vague and undescribed (weirdly, actually, given that the Crown Keepers might have gone there in the time between EXU Prime and Bells Hells); and Aeor (execution by hanging for deity worship).

I am not saying that any outlawing of religious worship (nor lack thereof) is a good thing, but we live in a world where people have - and still are - killed for gods for which we have, in my opinion, no proof of existence. It is unbelievably telling that the grievances provided (Tuldus, Ludinus, and members of Bells Hells) are all entirely individual experiences rather than anything systemic. It's people mad at their small communities or their parents, and that anger is valid, but it is immensely dangerous to take one's own individual negative experiences and treat it as systemic. This is the underlying motivation of how countless people are radicalized into hate groups (see: MRAs/incels, who are mostly mad at their mothers or at the fact that increased rights for women means women don't have to date or marry men if they don't want to - men are still the dominant class here, but their perceived individual slights and their extrapolation to this as systemic dominance of women is the radicalizing factor). The fact that Exandria has failed to set up a world where this is any sort of religious hegemony - Vasselheim is certainly important, but they aren't even a centralized governing body of worship a la the Catholic church, let alone a force outside of Othanzia, and are seen as an ally by the nonreligious Percy and Keyleth - again lethally undercuts the idea of this as anything but the most softened and childish discussion of colonialism and religion. Even Deanna's question to Pelor regarding Hearthdell reveals it as inaction - a failure to stop - rather than a command to act. It's at the level of how we teach American kindergarteners of the first Thanksgiving, except unless the entire narrative is wholly unreliable this is the actual story of Exandria. One giant pulled punch.

To quickly cover other items highly relevant to any sophisticated discussion of decolonialization/postcolonialism/colonialism in general that are absent from Campaign 3, and indeed Exandria as a whole: as multiple other fans have discussed, there is no concept of people of mixed race if the gods are the colonizers here. There is insufficient discussion of how, for example, many colonized or oppressed cultures have adopted western religions and see them as highly integral to their culture today - Catholicism in Central and South America and parts of Southeast Asia; Islam in other portions of Southeast Asia; Christianity within Africa and among African-Americans descended from slaves. This does not make the original forcing of said religion right or just; but any discussion of decolonization must account for the wants of those colonized, and I find that Campaign 3 fails to do so. The lack of meaningful conversation with common people across Exandria is something many of us have brought up. If we assume the members of the Accord are not necessarily speaking for those they rule, why do we have no concept of how the people at large of Whitestone, Gelvaan, Jrusar, Bassuras, Uthodurn, the Silken Squall, the Empire, the Dynasty, and the Tal'Dorei Republic feel? And if they are speaking for those they rule, well, we know how they feel.

I finally want to discuss that weird and, in my opinion, nonexistent irl space between actual colonizer and the colonized that mortals occupy. I personally reject the idea of the gods as colonizers given what we've seen in Downfall and because the metaphor is rather messy given the mythic scale. However, let's let treat them as such in this moment. Exandria was populated by titans. The lore is (possibly deliberately) vague and at times contradictory here, but either the titans lay dormant for a time after the gods arrived but before mortal society developed; or they lived in harmony with said mortals (who were created by the gods). They assisted, in some tellings, of the sealing of Predathos by the gods. They then, for unknown reasons, either awoke, or turned on the mortals; in the resulting schism they were killed and sealed by the Prime deities and the mortals. The Betrayer gods were those who wished to leave. The Betrayer gods too were sealed. The last known titans, sealed but not dead, were either destroyed or banished by the Ring of Brass during the start of the Calamity in order to prevent complete annihilation. The titans are now dead. Per Ashton's commune with them, there may be something that will rise again should the gods be eliminated; [only] the strong will survive it.

Questions to consider:

Why are a number of fans arguing that this story is one of anticolonialism so eager to place blame on Asmodeus and hope Predathos eats him first, when he is arguably the ringleader of those who most hoped to leave Exandria to the titans while they were still living? Do you hate the leader of the one most willing to decolonize? Or is the issue that this would also mean abandonment of the mortals, in which case, which is worse - destabilization or maintenance of a current situation (ie, the status quo)?

If the gods are colonizers, why isn't Predathos? It is no more a native of Exandria than they are. We know the gods were driven by an existential danger to their lives (which may or may not have been Predathos). Did Predathos lead the gods to Exandria and later corner them there, setting all of this in motion? Or is Predathos no different from them, driven to Exandria out of the need to survive? Given the titans opposed Predathos as well it is difficult to paint it as their savior (and the idea of an external savior of the colonized is, as discussed, one with unfortunate implications)? What is Predathos, and why is it better than the gods, if you believe it to be?

What are mortals here? They are not colonizer, nor are they native. I've discussed the (also very unfortunate) implications of treating sentient beings as ecology metaphors, but given that mortals truly did have, per the story, no agency in arriving on Exandria but were rather created here, are they akin to a non-native species? Such a species can be either invasive or beneficial, which fits with the idea of mortals being unique in their ability to change. Mortals were the ones under threat from the titans despite, again, being neither colonizer nor colonized; mortals participated in their destruction.

Where do the eidolons - seemingly unaffected by all of this - fit in? For a story about how change and newness might bring a better world, why the focus on the long-dead titans instead of the nature spirits that have seemingly taken their place? Why are many of Bells Hells constantly looking back and not forward?

And that last point feels particularly salient. The people of Exandria - a people whose opinion, again, in this campaign, it feels we have failed to explore - exist in an in-between state. They are more the heirs of the colonizers, in this assumption that the gods are colonizers, than the colonized. They cannot undo what the gods did. The gods can at this time only act through them.

What does it mean that we as the audience are intended to see ourselves most in a people who were not themselves those doing the colonizing, who are now under threat from colonization, and who might cooperate with the driving force behind that colonization? What does it say that our mortal viewpoint characters put more effort speaking to and for the dead than to the living? What does it tell us that many of them see themselves as the victims? What does it say that past campaigns had multiple characters subjected to actual systemic oppression (the twins, Jester, Molly, Veth-as-a-goblin, and Fjord all experienced racism) and explored the concept of the other (the Dynasty) and Campaign 3 never did? And when we add that to all of the above - that this world has failed to set up religion as even remotely close to both the meaningful and the oppressive force as it is in our own, despite the gods being real, that the grievances are individual and not systemic, that nearly all actions by the gods are motivated not by greed but by survival - is this an anti-colonialist work? Does it grapple with the problems of decolonialism meaningfully? Or does it let a white American viewer fantasize about a world where they are the oppressed, under threat of colonization, where their personal grievances are all forms of systemic oppression, cleansed of their own complicity in these systems, and where they can never be blamed for their actions because this is all so hard to choose- despite a far softer and gentler world than the one in which we actually live. And does it do so in a work they were going to watch anyway because they've been watching since well before this was introduced, thus permitting them to pretend they are experiencing a sophisticated anticolonialism narrative without having to go through the effort of actually reading that linked pdf of Orientalism they reblogged?

[wu-sisyphus-gang]

Blake: I think you are willfully ignorant of the red flags Jaune throws.

Weiss: Hmm?

Blake: Think about it.

Weiss: Okay. What would you do if Jaune woke up tomorrow and decided he wanted to rape you?

Blake: What?

Weiss: What would you do?

Blake: Jaune would never-

Weiss: Exactly. But think. What would you do? You might be able to kill yourself or you could pray but that's about it. They say integrity and character is what you do when nobody is watching but Jaune's existence in a post Salem world asks a deeper question: Who are you when nobody can stop you? Jaune could be raping and pillaging his way across every continent. He could topple governments and assassinate business leaders. He chooses to train the next generation of heroes and raise his kids with me. Concrete and steel are like paper-mache to him and he is mindful the world is fragile around him. During sex I want to scream at him to manhandle me but he never does. He is unbelievably gentle and I have no choice but to believe him when he says he likes it because if he really wanted to do anything to me he could.

[deception-united]

Let's talk about worldbuilding.

Worldbuilding is a crucial aspect of writing fiction, particularly in genres like fantasy and science fiction.

Remember that worldbuilding is a dynamic process that evolves as you write. Don't be afraid to experiment and make changes to your world as needed to serve the story.

Here are some tips to help you build a rich and immersive world:

Start with a Core Concept: Every world begins with an idea. Whether it's a magic system, a futuristic society, or an alternate history, have a clear concept that serves as the foundation for your world.

Define the Rules: Establish the rules that govern your world, including its physical laws, magic systems, societal norms, and cultural practices. Consistency is key to creating a believable world.

Create a Detailed Map: Optional, but helpful. Develop a map of your world to visualise its geography, including continents, countries, cities, and landmarks. Consider factors like climate, terrain, and natural resources to make your world feel authentic.

Build a History: Develop a rich history for your world, including key events, conflicts, and historical figures. Consider how past events have shaped the present and influenced the cultures and societies within your world.

Develop Cultures and Societies: Create diverse cultures and societies within your world, each with its own beliefs, traditions, languages, and social structures. Explore how different cultures interact and conflict with one another.

Flesh Out Characters: Populate your world with memorable characters who reflect its diversity and complexity. Consider how their backgrounds, motivations, and personalities are shaped by the world around them. (See my post on character development for more!)

Consider Technology and Magic: Determine the level of technology and the presence of magic in your world, and how they impact daily life, society, and the overall narrative.

Think about Economics and Politics: Consider the economic systems, political structures, and power dynamics within your world. Explore issues like inequality, governance, and social justice to add depth to your worldbuilding.

Show, Don't Tell: Instead of dumping information on readers, reveal details about your world gradually through storytelling. Show how characters interact with their environment and incorporate worldbuilding seamlessly into the narrative.

Stay Consistent: Maintain consistency in your worldbuilding to ensure coherence and believability. Keep track of details like character names, historical events, and geographic locations to avoid contradictions.

Leave Room for Exploration: While it's essential to have a solid foundation for your world, leave room for discovery and exploration as you write. Allow your world to evolve organically and be open to new ideas and possibilities.

Revise and Edit: Carefully review your worldbuilding to identify any inconsistencies, plot holes, or contradictory elements. Pay attention to details such as character backgrounds, historical events, and the rules of your world's magic or technology. Make necessary revisions to resolve any issues and maintain the integrity of your worldbuilding.

Happy writing!

Previous | Next

[agent-darkfest]

Ok… Guys… hear me out. I just accidentally got an idea:

What if— there was an alternate universe where the Jinns were never imprisoned by the humans and they managed to integrate into human society? What if Professor Y/n got hired by two Jinns to help them search for their history and lost records? What if those two Jinns were filthy stinking rich and literally funded the whole expedition and went with the Professor on this adventure? You know, just asking…

What if instead of "Arabian Knights" this alternate universe was called "A Tale of Two Jinns"…

I already have sketches… and I actually wrote a thing. A concept—really more of like a little snippet of a concept. (I’m not a writer, so please bear with me while I finalize the sketches)

———————————

"Why them, Sun?" Moon asked as he approached the mahogany desk in the middle of the large office. "Why have them lead this expedition?"

"Because, Moon…," Sun replied as he grabbed a stack of museum inventory documents and puts them away inside his desk drawer to be sorted out later. "I have a good feeling about them!"

"A feeling?" Moon asked with a derisive chuckle looking at Sun like he lost his mind. "Oh, ok, yeah. ‘A feeling’… heh… You mean to tell me that in the last 3000 years, you now start getting ‘a feeling’ that this particular human is special enough to lead one of OUR multi-million dollar expeditions!?"

"Fine, not a feeling, my research! Just—Look at their record, Moon!" Sun pulls out a folder and throws it on the desk. The folder opens showing various newspaper clippings, each celebrating the expedition and discovery of various unknown ancient sites led by different archeological teams. The only constant is your face in the background in each of the team photographs. "These teams had found RARE and long forgotten ancient sites…" Sun picks up one of the clippings as he stands up and walks around the desk to Moon. "And while the teams were led by other Archeologists, what they failed to mention is that these expeditions were only possible thanks to the efforts and artifacts found by Professor Y/n!" Sun points to you in the picture.

Moon scoffs as he looks away. Sun walks around to face him once again, he looks at Moon as he tightens his grip on the newspaper clippings.

"Moon, we NEED them."

"Well, maybe if your memory wasn’t such crap, that wouldn’t be the case."

Sun groans in frustration.

"How can you expect me to remember almost 3 millennia worth of history!? Our people lost all records thanks to the ancient humans that nearly imprisoned all of us!" Sun slams the clipping on the desk adjacent to him, never breaking eye contact with Moon. "When we escaped… when we ALL escaped, we leveled that human kingdom to the ground and terra-formed the land. Mountains rose! Continents were formed! Sands were shifted and BURIED our temples!" Moon flinches, he glares down away from Sun.

Sun takes a deep breath and speaks calmly, "Our people cannot find our temples anymore… every dune, every piece of land that we dug up… it only became a blank slate for a new human civilization to pop up— I mean, look at the Egyptians! They built the pyramids where we started searching!" Sun sighs, "We found one temple—after almost a millennium of searching. All the records were destroyed and artifacts looted." He looks around his office. "And we haven’t been able to get them back."

"Then why keep searching?"

"Why?" Sun asks with blank expression in his face, "Because if we don’t, we may never find it." He crowds Moon backwards towards his desk. "Because in the 3 weeks that Professor Y/n has been in this side of the world, they found an artifact from THE ancient kingdom." He grabs Moon and forces him to face him.

"HEY—"

"Because if we don’t find it… Afton will. And when he finds it… History will repeat itself."

Moon looks at Sun in the eyes, his breath shaky as fear begins to grip him. Angrily, he shakes off Sun’s grip and stomps his way to Sun’s office door.

"I know you lost your faith, Moon." Sun calls out as Moon pauses and grips door handle. He stands before the door and listens to Sun. "But you were a Priest once upon a time…" Sun looks at him hopefully, "Surely, you must sense something?… right? I mean, I’m a scholar and can deduce things through my research but even you—"

Moon tightens his grip on the handle. "That was a long time ago… I don’t believe in any of that anymore." Moon opens the door in front of him. "You should just give up this wild goose chase, we have a Museum to run. And besides, that human looked scared of us, they will never—"

A honk from outside the building interrupts Moon. They both pause and look out the 3rd-story window of the building to see you step out of the limo they sent out to pick you up. If you were here, that meant you were willing to accept Sun’s business proposal. You adjust your glasses as you gawk in admiration, completely blown away by the size and architecture of the Museum in front of you. Sun begins to smile as you quickly turn to thank the driver for handing you your bag—and a box of sweets? You must have made pit stop along the way. Sun turns to Moon with a Cheshire grin, only to see him already make his way out the door.

"This changes nothing!" He yells from the corridor as he slams the door.

———————

I gotta finish those sketches… I’m literally eyeballing them as I wrote this.

[mybeingthere]

A recent book by Eric Ghysels' wonderful 5 Continents Editions - "Hidden Portraits, Volker Hermes Reimagines Historical Figures in Overwhelming Frippery"

"Whimsical, Surreal & Insightful: The Masked Portraits of Volker Hermes Breathe New Life into Classical Portraiture."

Article by Eric David

Apart from a few iconic paintings like the Mona Lisa and the Girl with the Pearl Earring, European portraiture during the Renaissance, Baroque and Neoclassical periods is side-lined by narrative and genre painting whose subject matter is by nature much more compelling compared with the representation of a privileged elite – in other words, those who could actually afford to have their portrait painted. For most people, classical portraits of duchesses, marquises and other prominent people are different versions of the same parochial expression of vanity. Düsseldorf-based German painter Volker Hermes begs to differ. Based on famous Old Masters paintings, Hermes’ “Hidden Portraits” series of digitally-created photo-collages boldly highlights the intricate symbols of self-representation and social status embedded into such paintings.

From ostentatious ruffs, to richly embroidered trims, to elaborate headgear, Hermes masterfully manipulates elements found in the paintings to conceal the sitter’s identity in order to draw attention to their attire and pose, and reveal their connections with concepts of identity, gender and social status. As surreal as his masked portraits are, they look as if they were painted by the original artist, which is all the more impressive considering he’s a self-taught Photoshop user. In what started as a personal side project ten years ago, the series has since been thrust into the limelight during the pandemic as it evocatively captures the surreal mask-wearing reality we have all been living in. With masks suddenly becoming an integral part of our self-representation, and even acquiring cultural and political connotations, Hermes’ masked portraits are as timely as ever as but they also draw parallels between the coded messages of classical portraiture and the semiotics of the most contemporary of self-representation forms, selfies. Yatzer recently caught up with the artist to talk about his project, his passion for historical portraits and his relationship with social media.

Read more https://www.yatzer.com/volker-hermes-hidden-portraits

[letters-to-lgbt-kids]

(TW: Religion/Spirituality, mixed pronouns for God)

My dear lgbt+ kids,

Maybe trans people are proof that God exists.

Maybe God purposefully made trans people to show us She exists.

That may feel like a provocative statement - we’re so used to even the most trans-supportive religious arguments sounding like, “Maybe God doesn’t hate you despite going against the rules He created.” So it can feel strange, even uncomfortable, to suggest the opposite: that you are not a disruption of divine order, but a vital and powerful part of it.

This will not fit every belief system (I don’t think anything ever does), and you don’t need to integrate it into yours. But think about it this way:

The fact that trans people exist proves that humans are more than just flesh. We are more than bodies that ultimately will only make decisions that secure food, sleep, and procreation. We are spirit, we are souls. We have something deep inside us that says: “This is who I am, and this is what I need.” And somehow, we know to trust that voice, even when everyone around us tells us not to.

What is that voice, if not sacred? What is gender euphoria, if not a glimpse of God’s love?

Following that voice in this world is not easy. It is not comfortable or convenient. And yet - trans people exist. We have always existed. Across all centuries, continents, and cultures, we keep showing up. We keep becoming ourselves. That’s not a glitch in God’s plan. That is part of the plan.

And why wouldn’t we be? After all, we are a powerful testimony to creation. Our lives show that God’s creation is not static, not limited to binaries, not finished. That Her creation is ongoing. Expansive. Bold. So loving that They allow us to partake in it.

With all my love, Your Tumblr Dad

PS: She/Her pronouns version here

[arinzeture]

The term “Middle East” was coined in 1901 by Alfred Thayer Mahan. Dating back to ancient times, the region we presently know as the “Middle East“ was geographically located in Northeast Africa. It was, culturally, historically, and socially an important region of the African continent. It contained the following countries: Egypt, Ethiopia, and Sudan.

The Suez Canal is an artificial man made sea-level waterway created in 1869 AD to separate Northeast Africa from the rest of the African continent to which it was originally connected. The former French Consul to Cairo, got an agreement with the Ottoman Governor of Egypt, Sa'id Pasha, to build the 100 miles long canal across the Isthmus of Suez. This was done by the Europeans to try to create cognitive dissonance related to the world’s understanding of Egyptian history-civilization-culture as being an integral part of African history-civilization-culture. This was part of the White Washing of Egyptian history-civilization facilitated by Europeans and Eurocentric scholars.

Arinze Ture

[styllwaters]

KNIGHT ETHNIC GROUPS, ORDERS AND CULTURES: A GUIDE

MAP OF ETTERA (Knight Homeplanet)

Standard map [continents shown]

Regional map [territories shown]

✦ ✦ ✦ ✦ ✦ ✦

I have here a weeks worth of writing and art because I for some reason enjoy torturing myself! I've been slaving away at this for so long but it's finally done and polished. So! As promised, I'm gonna talk a bit about the different Knight cultures/ethnicities, territories and general social structure.

Knights are one of my alien sophont civilisations from my Vivere 44 headworld. Here are more links from my previous posts:

Introductory post

Knight deities

Knight languages and names

With that being said, worldbuilding textwalls below the cut!

____

First, an explanation of the maps.

CONTINENTS

There are three main continents on Ettera. The two polar landmasses are Thannoeh in the northern end and Nahrui in the southern end. Thannoeh is divided by east and west, and is home to the two major Polar Knight nations. Nahrui is not occupied by any, aside from explorers or scientists. For many Knights, it is a strange, enigmatic land and a topic of great curiosity. In the middle is Val-srat; the central continent inhabited by Mountain and Plains Knights. The landmass is named as such because it is often represented in folklore as a Knight, with Valazear (the ‘Host’) being the southern Plains territories and Srati (the ‘Helmet’) being the northern Mountain territories. The Ihmna Stretch is the section of land connecting the two countries - ‘Ihmna’ is the Ferhahti word for the Integrator organ which joins the host and helmet’s consciousness.

Plant life on Ettera takes on hues of red and orange.

____

Before I get into the different ethnicities, I should elaborate more on how Knight Orders are structured and the different titles; some of the clothing articles are specific to status.

SOCIAL STRUCTURE

Most Knights live in groups called ‘Orders’, which I talked more about in this ask.

The standard roles for an Order are as follows:

Commander - Makes decisions, protects and supports the group. Commanders lead the Order across difficult terrain, plan out hunts, and take care of their members. A Commander might be chosen based on generational succession, experience, or strength. Depending on the rules of the Order, a Commander might be challenged by a Knight who desires their position, although only an elite or lieutenant would be permitted to do this. In more traditional and conservative orders Commanders are always Pike-forts.

Lieutenant - Second in command. The Lieutenant is the Commander’s primary advisor and runs the Order when they are unable to. A Commander may train their lieutenant to one day take their place as leader, or a lieutenant might serve multiple generations of Commanders without ever challenging them.

Elites - A selection of Knight soldiers who are exceptionally experienced, strong and fast. Highly respected by the rest of the Order and carry out important duties such as organisation. They have the highest chance of being the next lieutenant or Commander. 

Soldiers - The main body of the Order, fully grown Knights who are proficient in all the skills necessary for survival. Soldiers are tasked with a variety of jobs to keep the Order healthy and running: they are also farmers, medics, entertainers, strategists, builders, etc. 

Scouts - Scouts are Knights who make reconnaissance trips for the Order. Their job is to gather information about a potential area to settle or travel through. Scouts also have a range of other responsibilities, such as acting as lookouts, messengers, and taking care of Pages.

There are two types of Scouts - temporary and permanent. Temporary scouts are Squires (16-17 years) who have completed their training and are performing Expeditions, which they are required to do before becoming a full soldier. On Expeditions two or three Scouts will travel a certain distance away from the Order, sometimes miles away, to deliver goods to other Orders or to simply evaluate an area/route. Permanent scouts are lower-ranked Knights who are unable to become Soldiers, prefer a caretaker role, or have been relegated to the position.

Squires - Knights in training. Squires learn from a Soldier assigned to teach them. They may be tutored one-on-one, or taught in a group. They learn the ways of the Order and the world around them. Squires will often be assigned small hunting trips with their tutor, or cleaning jobs. Typically aged 7-15 years.

Pages - The youth of the Order, Knights aged 0-6 years. The pages are fiercely protected by every member of the Order. A newborn Helmet or Host will stay with their birth parent/s until they have assimilated, in which care duty is passed on to a permanent Scout. The Scout raises the Pages alongside several others until they are ready to become Squires.

This structure originated from Mountain Orders and spread to Plains and Polar regions a long time ago. Of course, not every Order follows this plan exactly, and there are countless variations. Some Knights don't live in Orders at all, and may live in pairs (which is common for travelling merchants and explorers) or small groups. Very rarely, a Knight may travel alone. This is the case for exiles.

____

You may already be familiar with the Mountain, Plains and Polar Knight regional varieties, but within these subspecies are various ethnic groups.

THE ETHNICITIES

✦ MOUNTAIN ✦

✦ Ferhahti [Ferhaht]

The Ferhahti Knights are an ethnic group located in the Ferhaht territory of Srati. Their thick fur is of various shades of grey and grey-blue. Their clothing styles are typically beige and tan, often complete with rectangular tassels and red accents. The Ferhahti have a ‘New Years’ festival called Khulaam in which they call upon Etteran spirits to bless them with good harvests, hunting and rain. During these festivals there is music, food, dancing and socialising with others. Allied Orders, usually 2-5, will come together to celebrate. Celebrations last five days. Alliances may be temporary or long-lasting, but the Orders will go on a hunt on the final day to bring down a large quarry. Oftentimes there will be a ‘Herald’ dancer who bears a flag on their horn, depicting glyphs of good fortune. 

Since the Ferhahti and Kaata territories are neighbouring, and have no physical borders, Orders from both lands will often meet to trade goods and information. Many Plains-Mountain hybrids are of Ferhahti and Kaata descent due to the close proximity of the nations. 

NOTE: Plains and Mountain Knights are capable of producing hybrid offspring, although they will be infertile. Neither Plains nor Mountain Knights can produce viable hybrids with Polar Knights.

✦ Fejga [Fejg]

Fejga Knights (pronounced Fej-ya) make their home in the Fejg archipelago. They are generally of a bulkier physique than other Mountain Knights, have a coat of thick fur and are well adjusted to chillier climates. They also sport a ‘saddle’ marking on their backs and are likely to have mottled/freckled patterns and blue eyes. Their Orders are partially seafaring, with many sailing from island to island in magnificent ships. Fishing is a large part of their lifestyles as the sea provides a stable source of food. 

Their clothes are frequently made from leather and wool from domesticated animals. It is deceptively thin, as their pelts already provide natural insulation from the cold. Fejga Commanders wear three silver piercings on their Helmets.

✦ Svunacht [Svun]

Svunacht Knights live within the mountain-bordered territory of Svun and the island of Naahek. Orders have a special ceremony for choosing their Commander. The next in line, usually a chosen Host and Helmet born of the previous Commander and their partner, must journey across the Asall mountain range which borders Svun. It is a treacherous, long passage, and requires the Knight to wear a mask to block out the searing winds. They must also wear a spiked collar as a traditional accessory and safety measure to deter larger predators which roam the mountains. They are forbidden from carrying firearms, only armed with a knife, their wits, and natural defences. Ceremonial garments are required, passed down through generations, and three slips of fabric are worn on their horn for good luck: representing strength, wisdom and tenacity. The journey, called the Meha, is the final step in a long series of rigorous training for future successors. 

The painting of Helmets is also a large part of Svunacht culture. It is typically only reserved for Commanders, Lieutenants or Elites. 

★ PLAINS ★

★ Kaata [Kaat]

Kaata Knight Orders inhabit the deserts of Kaat. They are perfectly suited to desert life, their tan coats reducing heat absorbed from the sun. Kaata Knights make their clothing from woven fibres of plants that are garnished with gold pigments derived from a natural mineral found in the sands. They are especially known for their proficiency in fine crafts, and often trade jewellery to Ferhahti Orders across the Ihmna Stretch connecting Kaat and Ferhaht. Kaata clothing tends to be highly detailed and ornamental, with shiny beads adorning arm cuffs, necklaces, mandible rings and horn sleeves. The many gemstone and fossil deposits in Kaat are also incorporated into their styles. Like the Svunacht Knights, Kaata also paint their Helmets, although the practice is not restricted to any particular titles.

★ Saisala [Saisal]

Saisala Knights live in and around the deltas and rivers of Saisal, the southernmost territory of Val-srat. The area is filled with marshlands and everglades, and the weather is more wet and humid than the dry plains of Kaat. Saisala forts sport a dark reddish mane that grows right down their backs and bears some resemblance to maned wolves. Their pikes have hooked horns and sloping spines, as well as more ‘splotchy’ red stripes. Their Helmet eyes also have a pale ring around their pupils.

Saisala clothing styles are characterised by draping, ovular shapes and translucent sections of fabric. The green and gold drapes in the drawing are traditional wedding garments, complete with rounded tassels and a horn extension for pikes. The hanging ‘coins’ have engravings which tell a short but sweet poem.

★ Yaemioui [Yaemiou]

Yaemioui Orders live in a similar environment to Saisala Knights, in the wetland territories of Yaemiou. Their coats are pale like Kaata, but come in a greater combination of hues such as orange, grey and vermilion. Fun fact: all Plains Host pups are born with faint spots to help them camouflage, like lion cubs. Most lose these markings as they grow older, but Yaemioui hosts retain them even in adulthood. Their patterns are similar to painted dogs. The Yaemioui have a rich storytelling culture and have records dating back thousands of years.

Their clothing styles utilise dusky, non-bright colours that are usually two-piece. The outfit in the picture is worn by an elder Pike-fort who has carried and sired many offspring. The spine extensions are an indicator of age and experience, and a mark of high respect. The scarf around their neck depicts circles symbolising their Helmet children, and the circles on the larger cloth represent their Host progeny. 

★ Balkzaiinu [Balkzaii]

On the island of Balkzaii reside the Balkzaiinu Knights, who have dark stripes on both their Hosts and Helmets and short curly fur. Unlike other Orders, Balkzaiinu communities rarely ever hunt - they were one of the first countries to develop farming and agriculture, and import a lot of domesticated animals to Saisal and Yaemiou. They are also the only country that has no Commanders in their Orders, and decisions are made by a council of higher-ups. They live in a tropical climate which receives lots of rainfall and cyclones. They are also masters in boat making and sailing, and contacted the mainland several centuries ago. Balkzaiinu have different decency standards than other Plains Knights, and in their culture it is considered proper to cover the neck area. Their clothing is generally layered and contains colourful, square designs.

✧ POLAR ✧

✧ Aikka [Ehtte Thannoeh]

Aikka Knights have domain over the Eastern section of Thannoeh. The polar word for East is Ehtte, and West Uesse. Since the country is so close to the Fegj archipelago, the two have been in contact for a long time.

Aikka have pristine white fur and a slightly bluish tinge to their Helmets. As with all Polar Knights, they are much smaller than their Plains or Mountain relatives, but are incredibly tough and hardy as a result of surviving in one of the harshest biomes. Ehtte Thannoeh is associated with scientific prowess, discovery and knowledge, and many famous Knight explorers are from Thannoeh. There are several research stations on Nahrui that are run and managed by Aikka; they have no difficulty working in the icy environment. Aikka Knights are also experts in carving, sculpting figurines and charms from the ivory tusks of marine animals. The outfit depicted in the drawing shows an Aikka Scout wearing a pendant with a carved basilosaurus-like animal for spiritual protection. These pendants are often given by parents to children. Their coat has six pockets for navigational instruments, goggles, knives, a spyglass, medical equipment and more. 

✧ Myet [Uesse Thannoeh]

Myet Orders have less contact with other regions than Aikka. Residing in Uesse Thannoeh, Many of them live further inland. Myet Hosts have a more yellowish tinge to their fur and their Pike Helmets have a tan stripe. The Helmets also have a more rounded 'snout'. They have managed to domesticate a large predator which defends their camps and is used as a mount/companion. Like the Balkzaiinu, Myet Orders have a different structure than most, having two Commanders, usually a mated pair, and no lieutenants or elites.

Myet clothing is more minimal than Aikka styles. They usually cover the back with a ‘saddle’ and manipulators with gloves. The outfit drawn is of a Commander, distinguished by the ring of fabric around their horn and eye makeup. In their backpack they carry hunting weapons, and wear a knife sheathed at their side.

_________________

And that's a wrap! Thank you for reading, this project is truly a delight to work on. I leave you with some messy concept art I did a while ago for Mountain Knight clothing styles.

[slaaverin]

What is up with this entire fandom jumping on the erasure of Jikook's bond? The Jikook who for years were commuting everywhere together and pissing everyone off? The jikook who were always together and glued during memories and pissing everyone off? The Jikook who got their "fanservice" title specifically because of how much time they spent together on and off camera and behind the scenes? So much so their interactions were accused of being company forced and scripted. Couldn't be because they loved spending time together, there had to be a company agenda, accusations.

But today Suddenly people are even drifting from Fanservice, to just completely erasing them cause its easier for them. Threads being created saying JK is closest to this member and always has been or Jimin is closet to this member and always has been. Lies Jikook don't ever spend time together outside of work. Reporting real moments of Jikook for copyright. Excluding Jikook from basically everything. Lies saying Jk has rode with x member for years or Jimin has always rode with x member for years. Lies Jikook travel with other people and always have, but Jikook only travel together for Hybe content. Lies they aren't together in the military. A complete rewrite of Jikook's history and also a rewrite of JIkook's history with other members. And if you notice alot of these antis pushing these theories are newish fans. And what is sad is you won't see a single veteran OT7 correct them, cause they want Jikook to not exist in this fandom anyone either. IG era destroyed this fandom, but really Chapter 2 made this place go mad to the point there is no going back and they're hell bent on erasing Jikook and only Jikook. I hate to go there, but it really seems like a direct attack stemmed from homophobia, since they're attacking the only two members who act like a couple or have literally been asked by their members, if they are a couple. We know what y'all antis are.

I agree with you anon.

I think there's no denying it can only be homophobia.

This erasure goes so far that it seriously became insane.

But you know what? This is a true call for every jikookers, supporters like us out there to be AS LOUD AS POSSIBLE.

Tweet about jikook, make threads, tumblr posts, edits, love letters on any social media plateform. It's a call to every one of us to share our voice, opinions, love, support about jikook in any way we can.

The only way you can fight darkness is by shining light. Many of us have been reflecting jikook's light and love to spread it further and I beg everyone to keep doing it.

As long as we will be there, continously showing support jikook will never be erased. The truth will be kept safe and live on.

I swear to you, even if all these people are more than us in numbers, they will never be able to change reality. They will never be able to completely instinguish that love because it lives through all of us.

I don't care whatever low tactics they use to push their agenda of hate, we need to stand strong and stand tall, and keep our integrity to protect jikook's love.

I think all of us know this is the right thing to do. All of us who connect with their bond, and love Jimin & Jungkook unconditionally, and wanna show support must be prepared because the next few months is gonna be especially rough.

You're right, chapter 2 was a divider in this fandom, now everyone is looking out for themselves only, pushing their own selfish narratives, brainwashing new armys who have no clue.

Of course we naively want the reunion to make everything right but let's face it, it's not gonna happen. At least not right away. No.

At first it's gonna be absolute chaos.

Much like it has been.

When jikook will reunite the hate will reach a new insane peak.

So that's why us jikookers need to be ready for it.

If not us, than who else?

When reunion happens, I wish each of us will be as loud as possible, as supportive as possible.

I truly cannot stand the idea that hate will win, however the number of haters, however insane it gets. I can't tolerate that. I won't.

You know that what jikook have, it's something so precious and beautiful and pure and true, I cannot bear the idea of ANYONE, no matter hateful they are, to affect even a little bit their bond. I don't want psychopaths to affect jikook in any way.

But look how far they go? Look how deep the hate is? At some point, some time, it only need one event where haters can truly mess things up.

We say it's only on the internet. We say it doesn't affect them.

This is not true. The members have received death threats before. Insane people have stalked Jungkook before.

Jimin disappeared from social media because of the hate.

Saying it doesn't affect them is an illusion.

It does, it can, and if it continues down this path, it will.

You only need one deranged individual.

One psycho that took the narrative a little bit too seriously. One psycho whose hate goes deep enough that they are willing to do the unthinkable and actually try to harm jikook.

It's not all fun and games. What's happening right now down the line can have true consequences.

We might think what we do doesn't matter. We think we are only one voice drowned in the ocean of hate but I disagree.

As people who love Jimin & Jungkook, who care for them, it matters.

Even one voice matters.

Because what if jikook do a live, and get hundreds of messages of hate, and suddenly feel very down because of it? But what if in the midst of all they see support? And it makes them smile even for a second? That's already a big fucking victory.

So everyone, I know everything is very discouraging and infuriating and unfair, I know we're drowning in hate and angry at this fandom, but please do not give up.

Don't give up on Jimin & Jungkook.

I think in this chapter we truly saw they only have us.

The hate is getting bigger and more twisted than ever, but it only means we need to show up even more for them. We need to be so loud it covers the noise.

Honestly that's all we can do.

So let's focus on this and spread positivity. Spread their love. Spread their history. Spread the truth as you know it. Spread your opinions. Spread videos and photos and edits no matter how many times they want to copyright it.

We need to keep pushing. We need to stay united.

We need to be prepared for this next chapter that will be a hell of a ride for everyone, us, as for jikook.

I don't know about you, but love is the most important thing to me. If we don't fight for it, then what even to fight for?

Will we all get squished and reduced to silence by the hate and the bullying? Will jikook's love be twisted so much it ends up affecting them and ruining everything? Will we let them win? Even if we are outnumbered?

I refuse. For real. I refuse.

I don't care how insufferable we get. I don't care how loud we scream. I don't even care if we need to bring support banners to concerts to tell you the truth. I don't care if we say the wrong thing and the whole world starts bullying us and put us and jikook down.

I will never stop cherishing jikook's love and shoving it in everyone's face. I will never stay silent.

Preserving what is beautiful and true and precious IS IMPORTANT. It's not important only when it comes to jikook but in the world in general!

It's important because I think each of us wants this world to become a better place, not a worse one.

A place where jikook are free to be who they are, to love however they want, to be their fullest self, in total freedom.

A place where people with different sexualities can express themselves without fear.

A place where love is celebrated and encouraged and valued above all else.

I don't know about you, but that's what I want.

So really, let's protect this ideal, and do what we can - stick together and speak and share and support.

At least we will be able to say we will have done our very best.

💜