#hypogeum

[ukdamo]

Today's Flickr photo with the most hits - the Hal Saflieni Hypogeum.

Fantastic neolithic underground burial complex. In use for over 1000 years, and excavated with bone and horn tools, the complex once housed 7000 bodies. For conservation reasons, visitor numbers are limited and there is no photography: the photos in my Flickr album were found on the web and uploaded for illustrative purposes.

[rumireed]

Curative Dreams

The hypogeum is an underground temple or tomb where one could be immersed in dreaming with the curative powers of the land and the numinous powers of the divine, often as part of a dream healing temple or entrance to the underworld. One of the most ancient is the Hal Saflieni hypogeum in Malta which dates to the Neolithic period, where the “Sleeping Lady” was recovered in 3200-2500 B.C. The…

[1-50thofabuck]

Need feedback for first release/minor updates

It's not what was planned as a "first release," but it seemed like the easiest adventure I've written to rework quickly into a publishable form. Of course, it took a lot longer as I kept finding things to alter or ideas to add! I need commentators and proofreaders. Any help you're willing to offer will get your name on the front page as a thanks. The module will be released for free once finalized. Anyone interested in reading through and offering suggestions, fixes, and so forth? Let me know! I'll send you a PDF or a link to a Google doc, your choice! So, please let me know if you'd like to check this out! Anything you want to help with or "contribute" will be appreciated!

A synopsis: a cavern and mine dating to prehistoric times, reputed to be haunted by a banshee, has led to death and suffering each time anyone has attempted to reclaim it. Now, goat-headed fomorians and other horrors are flocking to it to serve the dark being that has revealed itself. As their numbers swell, aided by a spying bandit cultist and his unwitting accomplices from town, the number and power of monsters in the area has increased, ruining trade and travel, yet due to a calamity in a nearby town, the influx of needy individuals has continued. This unfortunate situation is made the more sorrowful for the many desperate refugees that have been lost to the vicious creatures whose frequency and strength have grown. As if all this is not enough, the falling of a star has unleashed a terror from beyond. Trade, travel, and pilgrimages have been all but cut off; economic disaster looms as the number of needy continue to increase; cultists set traps, goblin tribes kidnap and enslave, something that fell from the sky devours all in its path, and all the while, fomorians gather together and plan for a war to retake the land that was once theirs.

In other news, I completed half of an "All the World's Monsters" readthrough entry, but gave it a rest to work on the adventure module I'm previewing here! Also because it was getting a bit frustrating as it became increasingly more difficult to review some of the atrocities in that book without being overly negative(they get real dumb, with about 10 "alignment: hungries" in a row!). Aside from that, since the posts I make here are a mixture of materials and general posts, I'm going to add an index to the website of the posts here that are actually relevant such as adventures, monsters, NPCs, graphics or anything else potentially useful for a GM, as opposed to the ones about kickstarters or whatnot. I'll index readthroughs there as well.

[loregoddess]

I have lots of random, minor bones to pick with lots of random aspects of pop fantasy, but I really gotta say the lack of imagination and creativity surrounding dwarves is a damned crime

you're telling me there's an entire fantasy race known for "living in mountains", spaces which would probably produce some of the most insane acoustics, and this race is not stereotypically known for producing the most ethereal and incredible music in all the fantasy world? where is my dwarven opera and dwarven metal and dwarven smithing shanties? why is so much pop fantasy a simulacra of other pop fantasy with about as much imagination as a weak tea has flavor

[catominor]

malta and gozo neolithic sites save me... save me malta and gozo neolithic sites....

[yaellaharpe-blog]

Antigua Via Latina / The ancient Via Latina

In the middle of the Roman periphery, between the modern Via Appia and Via Tuscolana, a section of the 3rd mile of the ancient Via Latina is preserved in perfect condition.

It has ancient origins: the natural route, already followed in prehistoric times, was used by the Etruscans to colonise Campania in the 8th-6th centuries BC.

Definitely laid out by the Romans around the IV-III centuries B.C., it connected Rome with Capua, maintaining its importance throughout Antiquity. In fact, even in the Middle Ages, it was preferred as an access road to Naples because of its better preservation compared to the Appian Way and the presence of a number of Christian places of worship along the route..

Entering the Archaeological Park of the Tombs of the Via Latina, it is now possible to walk along a section of the original paving of the street. With a pleasant walk you can admire the rich tombs dating back to the I-II century A.D. that overlooked the route, which still have perfectly preserved polychrome decorations on the façades and inside: vaults covered with painted plaster and stucco, walls frescoed with funerary scenes and rich mosaic floors are still substantially intact in their original context.

From the street it is also possible to reach the Basilica of S. Stefano, a rare example of an early Christian building erected under the pontificate of Leo the Great in the middle of the 5th century.

Santo Stefano en Vía Latina, restos parcialmente reconstruidos, 1911.

Santo Stefano in Via Latina, partially reconstructed remains, 1911.

The Archaeological Park of the Tombs of the Via Latina was created in 1879 following the acquisition by the State of a vast area in which important remains from Roman times had been discovered.

BARBERINI TOMB

The so-called Barberini Sepulchre, or Sepulchre of the Corneli. The funerary monument, dating from the 2nd century AD, consists of two above-ground floors and a hypogeum in an excellent state of preservation. The upper floor is covered by a ribbed vault completely covered with plaster painted with a red background and stucco elements. Groups of figures, winged victories on chariots, love affairs, birds, marine animals, mythological themes and architectural backgrounds can be recognised.

Sepulcro Barberini y su interior / Barberini Tomb and its interior

TOMB OF THE VALERI

The Tomb of the Valeri. The richly decorated underground rooms dating from the mid-2nd century AD are preserved, while the elevation is a hypothetical reconstruction dating from the mid-19th century. An elaborate white stucco covering, articulated in 35 medallions and panels, adorns the lunettes and the barrel vault of the underground room. The medallions depict Dionysian themes, female figures and sea animals, while in the central tondo there is a delicate-veiled figure on the back of a griffin, representing the deceased being carried to the afterlife.

Tumba de los Valeri, exterior e interior / Tomb of the Valeri, exterior and interior

THE TOMB OF THE PANCRATII

The Tomb of the Pancratii. Much of the visible structure is a modern construction that protects the monument below by resting on the original 1st-2nd century AD walls, about a metre high. Upon entering the tomb, one can admire the beautifully decorated underground rooms, with mosaics on the floors and vaults and walls frescoed in bright colours and stucco in an excellent state of preservation. They depict mythological scenes, natural and architectural landscapes, images of women and animals. In the centre of one of the underground chambers is a large sarcophagus for two Greek marble depositions.

Sepulcro de los Pancracios, exterior e interior / Tomb of the Pancracios, exterior and interior

[hanssloane]

One of the loveliest sculptures I think I’ve ever seen. And it was made thousands of years ago in the Neolithic period.

‘The Sleeping lady’ 3300-3000 BC unearthed from the Hal Saflieni Hypogeum and now on the National Museum of Archeology in Valetta, Malta

[shamandrummer]

Archaeoacoustics: The Archaeology of Sound

Archaeoacoustics, a burgeoning field within archaeology, combines the study of ancient sites and artifacts with the science of sound. By examining how sound was used and experienced in historical contexts, researchers can gain unique insights into the lives, cultures, and environments of ancient peoples. This post will delve into the principles of archaeoacoustics, its methodologies, significant findings, and the implications of these discoveries for our understanding of history.

What is Archaeoacoustics?

Archaeoacoustics is the interdisciplinary study that merges archaeology, acoustics, and sometimes anthropology, to understand the role of sound in past human activities. This field investigates how ancient peoples produced, manipulated, and perceived sound, whether in rituals, communication, or daily life. By reconstructing these soundscapes, archaeoacoustics offers a sensory dimension to historical inquiry, enriching our interpretation of archaeological sites and artifacts.

Methodologies in Archaeoacoustics

Acoustic Measurements and Simulations

One of the primary methods in archaeoacoustics involves acoustic measurements and simulations. Researchers use modern technology to analyze the acoustics of ancient structures such as theaters, temples, and caves. Tools like sound level meters, directional microphones, and computer simulations help in understanding how sound behaves in these environments. By measuring reverberation times, frequency responses, and sound distribution, archaeologists can infer the acoustic properties and possible uses of these spaces.

Sound Mapping

Sound mapping is another critical technique, where the distribution of sound within a particular area is documented. This involves creating detailed maps that illustrate how sound travels and is experienced at different locations within a site. These maps can reveal areas of optimal acoustics that may have been used for specific activities, such as speech, music, or ritual practices.

Experimental Archaeology

Experimental archaeology also plays a role in archaeoacoustics. By recreating ancient instruments or sound-producing devices, researchers can explore how these tools might have been used and what kind of sounds they produced. This hands-on approach provides tangible insights into the auditory experiences of ancient peoples.

Significant Discoveries in Archaeoacoustics

The Acoustics of Stonehenge

One of the most fascinating studies in archaeoacoustics involves Stonehenge, the prehistoric monument in England. Researchers have used acoustic modeling to understand how sound would have behaved within this stone circle. Findings suggest that the stones could have amplified speech and musical sounds, creating an immersive auditory experience. This has led to speculation that Stonehenge may have been used for rituals or gatherings where sound played a crucial role.

The Hypogeum of Hal-Saflieni

The Hypogeum of Hal-Saflieni in Malta, an underground temple complex, is another site of interest. Acoustic studies have shown that certain chambers within the Hypogeum have unique resonance frequencies that enhance the human voice. This has led researchers to believe that the temple may have been designed with acoustic properties in mind, possibly for chanting or other vocal rituals.

Chavin de Huantar

At the ancient site of Chavin de Huantar in Peru, archaeoacoustics has revealed that the temple complex was built with sophisticated sound manipulation in mind. Researchers discovered that the architecture of the site, including its network of tunnels and chambers, could have been used to create disorienting and awe-inspiring auditory effects during religious ceremonies. The use of conch shell trumpets and other sound devices would have added to these effects, enhancing the spiritual and psychological impact on participants.

The Maya Pyramid of Kukulkan

At the Maya ceremonial center of Chichen Itza in Mexico, an incredible acoustic phenomenon can be heard at the Pyramid of Kukulkan. If you clap your hands directly in front of the pyramid's main staircase, it echoes back an almost mechanical bird-like chirping sound. Handclaps from different positions along the base of the staircase likewise trigger the echo, but with different musical tones spanning half an octave. Recordings of the hand-clap echoes match the chirp of the nearly extinct Quetzal, the sacred bird associated with both the name of the pyramid and its plumed serpent deity Kukulkan.

The Maya Ruins of Palenque

Archaeologists discovered that the temples and public squares in Palenque, Mexico could clearly project the sounds of a human speaker and musical instruments of the time across at least a hundred meters, or about the length of a football field. The investigation identified rooms that could have been used by musicians, speakers or priests to amplify the frequency, quality and volume of sound, allowing the music or the message to travel further and reach more people. The findings strongly suggest the design and structures at Palenque involved a great deal of knowledge about acoustics and the behavior of sound.

Implications and Insights

Understanding Rituals and Ceremonies

Archaeoacoustics provides valuable insights into the rituals and ceremonies of ancient cultures. By reconstructing the soundscapes of these events, researchers can better understand the sensory experiences of participants and the role of sound in these practices. This can shed light on the spiritual and cultural significance of sound in ancient societies.

Reinterpreting Archaeological Sites

The study of sound can lead to new interpretations of archaeological sites. Structures that were previously thought to serve purely functional purposes may be re-evaluated in light of their acoustic properties. For example, a room that was assumed to be a storage area might be reconsidered as a space for ritual chanting if it has unique acoustic characteristics.

Enhancing Public Engagement

Archaeoacoustics also has the potential to enhance public engagement with archaeology. By recreating the sounds of the past, museums and heritage sites can offer immersive experiences that bring history to life. This sensory approach can make historical sites more accessible and engaging for visitors, fostering a deeper connection with the past.

Conclusion

Archaeoacoustics offers a fascinating and innovative approach to the study of ancient cultures. By exploring the acoustic properties of archaeological sites and artifacts, researchers can uncover new dimensions of historical experience and gain deeper insights into the lives of ancient peoples. Despite its challenges, the field holds great promise for enhancing our understanding of the past and engaging the public with history in new and exciting ways. As technology advances and interdisciplinary collaboration continues, the future of archaeoacoustics looks both promising and intriguing, inviting us to listen to the echoes of history in ever more profound ways.

[deathnskulls]

Sleeping Goddess statue found inside Hypogeum. The Hypogeum (Malta island, Mediterranean Sea) is an underground funerary temple characteristic of pre-Christian period. The start of construction occurred about 3500 years BC.

[girljeremystrong]

do you think paul mescal and pedro pascal explored each other's bodies in the hypogeum of the colosseum

[thethirdromana]

There was unexpected enthusiasm for this 9,000-year-old guy so here are my favourite Neolithic places that I've visited.

These are almost all from the UK and Ireland but that's because I haven't been to Göbeklitepe, Caral-Supe, Çatalhöyük, Uruk or many others around the world (yet).

Newgrange! A 5,000 year old passage tomb aligned with the rising sun of the winter solstice! The front is reconstructed, which was a controversial choice, but means that it looks SO. COOL.

Maeshowe! A 4,800 year old passage tomb designed along much the same principles as Newgrange, but smaller and in Scotland! Except - and this is the fun bit - it was broken into by Vikings in the 12th century, who covered the interior in runic graffiti. My favourite is "Tholfir Kolbeinsson carved these runes high up." Good job, Tholfir.

Skara Brae! A rare non-tomb entry! It's a honeycomb-shaped village of 10 little houses with beds and dressers and hearths. So well-preserved that it's effortless to imagine living here, but it was built 5,200 years ago.

Stoney Littleton Long Barrow! If you want to visit Newgrange or Maeshowe, you have to get a timed ticket and go in with a tour guide, whereas this 4,500 year old tomb is accessible at any time as long as you're up for the long walk through cowpat-covered fields from the car park. 100% worth it even though I fell over in the mud on the way back.

Ħal Saflieni Hypogeum! Honestly I could have put every Neolithic site in Malta on this list but this one is staggering. It's a 5,000 year old necropolis hewn out of limestone - those are not limestone slabs in the photo, they are solid limestone carved to look like slabs. They made this without metal tools.

[the2dvgstages]

"Hypogeum" - The Emperor's Games

[dreaminginthedeepsouth]

An impressive tomb with depictions of Cerberus and Centaurs was found in in the municipality of Giugliano in Campania, Italy. Paintings of sea-centaurs, the hellhound Cerberus and other mythical beings cover a 2,200-year-old tomb unearthed in Italy. During excavation for infrastructure work near Naples, archaeologists noticed the hypogeum a large tomb with chambers or niches for burying several people in perfect condition, its entrance still covered with tiles. The tomb is adorned with multiple frescos, the most notable of which depicts Cerberus - the three-headed guardian of the Underworld - which has given it the name the Tomb of Cerberus. The tomb's inhabitant still remains on the funeral bed they were laid to rest on and is surrounded by a rich collection of objects. The chamber also contains an altar with vessels for libations.

[Robert Scott Horton]

* * * *

Theoretically, we are aware that the earth is spinning, but in reality we do not notice it: the ground we walk on seems to be stationary and gives no cause for alarm. The same happens with Time.

from "In Search of Lost Time, Book 2: In the Shadow of Young Girls in Flower" by Marcel Proust

[alive on all channels]

[twoidiotwriters1]

The Curse of Oenone (Leo Valdez xFem!Oc)

A/N: We're having loads of fun this week -Danny Words: 2,148 Series' Masterlist Previous Chapter // Next Chapter Listen to: 'Champion' -by Fall Out Boy

XXII: The Nonsense Has Escalated

She refuses to be who Helen was, the cause of countless demises while hiding behind fortified barriers. That's not who Ara Jackson is. She's the solution, not the problem.

Ara's looking at Piper's dagger for directions, and it shows her the outside of what seems to be an old workshop. The blade obliges to her requests easily, almost like it recognizes its original owner. It takes her no time to find a motorcycle and she takes it. If the owner's lucky, she won't even damage it beyond repair.

Ara drives through the city following her compass, it guides her effortlessly because there is only one thing she wants right now and that's finding Nico. Eventually, she locates the old workshop. Ara walks up to the entrance and breaks in. 

It takes her just a couple of minutes to get to the bottom, which of course is way bigger than it looks on the outside. Ara is overwhelmed by all the cages and machinery surrounding her.

"...this spectacle will be even better," one of the giant twins is saying. "The Romans always wanted bread and circuses—food and entertainment! As we destroy their city, I will offer them both. Behold, a sample!"

Percy talks, which sends a wave of relief through Ara's body. "Wonder bread?"

"Magnificent, isn't it? You can keep that loaf. I plan on distributing millions to the people of Rome as I obliterate them."

"Wonder bread is good," the other twin says. "Though the Romans should dance for it."

Ara comes out right behind the giants, and Percy's the first to spot her. There is a split second of recognition on his face before he looks back at the giants and resumes his conversation.

"Maybe you should bring our other friends here. You know, spectacular deaths... the more the merrier, right?"

Ara looks down at the giant's feet—if she can even call them that—and sees Nico lying there. She notices the terrible shape he's in, almost pure bones and skin, way too similar to the old mummy they used to keep in the Big House's attic. Seeing him like this brings her no satisfaction.

They won't kill these guys without a god present, but at least she can get Nico out, and that would take away the leverage the giants have on them, and they might have a chance to run. Ara holds Almighty, still as a compass, and waits.

"Hmm... No. It's really too late to change the choreography. But never fear. The circuses will be marvelous! Ah... not the modern sort of circus, mind you. That would require clowns, and I hate clowns."

"Everyone hates clowns," his brother points out. "Even other clowns hate clowns."

"Exactly. But we have much better entertainment planned! The three of you will die in agony, up above, where all the gods and mortals can watch. But that's just the opening ceremony! In the old days, games went on for days or weeks. Our spectacle—the destruction of Rome—will go on for one full month until Gaea awakens."

"Wait," Jason intervenes. "One month, and Gaea wakes up?"

"Yes, yes. Something about August First being the best date to destroy all humanity. Not important! In her infinite wisdom, the Earth Mother has agreed that Rome can be destroyed first, slowly and spectacularly. It's only fitting!"

"So... You're Gaea's warm-up act," Percy continues.

"This is no warm-up, demigod! We'll release wild animals and monsters into the streets. Our special effects department will produce fires and earthquakes. Sinkholes and volcanoes will appear randomly out of nowhere! Ghosts will run rampant."

"The ghost thing won't work—Our focus groups say it won't pull ratings."

"Doubters! This hypogeum can make anything work!"

One of the twins moves to a control board providing Ara with a blind spot. She sneaks in closer, making sure the other twin isn't looking. Piper and Jason see her then, so they do their best to keep the giants's focus on them. Ara seizes Nico's jacket and almost whimpers at how easily she can drag him back, he's too malnourished.

Percy's relief is written all over his face and he turns to the others. "I'm getting tired of this guy's shirt."

"Combat time?" Piper seizes her cornucopia.

"I hate Wonder bread," Jason grumbles.

Ara tries to make Nico come back to his senses. "C'mon Ghost King..." she rummages through her bag and pulls out her bottle of nectar. She tilts the boy's face up and feeds him. "Now's not the time to take your title seriously!"

Nico's eyes open though it takes them a moment to focus. Once he sees it's her, his expression turns into a scowl. "You."

"Happy to see you too," she whispers. "Can you stand?"

Nico tries to get up and slips, so Ara places his arm around her shoulders and carries him to safety. "You'll hide until it's safe to go, got it?"

Nico's reply is a weak grumble, he must be extremely weak if he's not trying to fight her orders. Ara's about to leave when she hears growling, she looks back and finds two leopards slowly approaching.

She shields Nico's body with her own. "Piper, we could use some help here!"

The girl looks back and sees the felines. "Going!"

Her sister runs in their direction and points the cornucopia to the opposite side, a large piece of warm roasted meat flies off and distracts the leopards successfully.

"I miss Seymour," Ara sighs.

"Go help Jason and Percy, I'll watch after Nico."

"Take this," Ara gives her Katroptis back. "Works just as good as that horn you carry."

Piper takes the weapon and keeps feeding Nico small pieces of ambrosia so he can get back on his feet. Ara joins the fight. "Sorry I'm late, Hedge and I were having a great time talking shit about you."

Jason snorts. "Sorry to spoil the fun."

"Don't worry about it," she turns Almighty into a sword. "This will be fun too."

"Hydra! Hydra!" Percy shouts, running towards them.

"Where did that come from?" Ara yelps.

"I set it free!"

"WHAT?"

"The fireworks!"

Ara knows what he's trying to tell her and together they reach the device. 

"Can you—"

"Yes, just make sure it comes to us!" She interrupts him.

Percy gets the Hydra to approach and Ara blows it up with the fireworks, it causes such a mess that they end up blowing up more than expected. They bury one of the twins under rubble.

Ara winces. "That's exactly why I'm not allowed to use explosives..."

Percy frowns. "You design bombs."

"That's different."

"Guys, the controls!" Jason shouts.

"Go, I got your back!" Percy tells her.

Ara runs over and looks at the buttons and levers, but they're not labeled in a way she can understand, she elbows Percy. "Takes too long, just break it!"

Percy cuts the whole thing in half, and a shower of sparks comes out of it. The twin still standing reaches them and Ara stands in front of Percy, turning her sword into a shield and stopping the giant's spear from impaling them.

Jason rushes over after checking up on Piper and Nico. The three of them stand together, but there's not much they can do. The other giant crawls out from under the debris and picks up his weapon, Ara turns Almighty back into a sword.

"What now?"

"We won't give up," Jason states out loud so the giants hear. "We'll cut you into pieces like Jupiter did to Saturn."

"That's right," Percy adds heatedly. "You're both dead. I don't care if we have a god on our side or not."

"Well, that's a shame. I'd hate to think I made a special trip for nothing." There, descending on a small platform, is Baccus. Mr D's Roman version. "Really, Ephialtes, killing demigods is one thing. But using leopards for your spectacle? That's over the line."

"This—this is impossible. D-D—"

"It's Bacchus, actually, my old friend. And of course it's possible. Someone told me there was a party going on."

"You—you gods are doomed! Be gone, in the name of Gaea!"

"Hmm..." The god walks forward staring at everything with disdain. "Tacky. Cheap. Boring. And this... Tacky, cheap, and boring. Honestly, Ephialtes. You have no sense of style."

"STYLE? I have mountains of style. I define style. I—I—"

"My brother oozes style!"

"Thank you!"

"Have you two gotten shorter?" Baccus squints at the pair.

"Oh, that's low. I'm quite tall enough to destroy you, Bacchus! You gods, always hiding behind your mortal heroes, trusting the fate of Olympus to the likes of these."

"Lord Bacchus," Jason shifts his weight from one foot to the other. "Are we going to kill these giants or what?"

"Well, I certainly hope so. Please, carry on."

"Didn't you come here to help?" Percy asks.

"Oh, I appreciated the sacrifice at sea. A whole ship full of Diet Coke. Very nice. Although I would've preferred Diet Pepsi."

"And six million in gold and jewels," Percy grumbles.

"Yes, although with demigod parties of five or more the gratuity is included, so that wasn't necessary."

"What?"

"Never mind, At any rate, you got my attention. I'm here. Now I need to see if you're worthy of my help. Go ahead. Battle. If I'm impressed, I'll jump in for the grand finale."

"That's great," Ara's voice is full of sarcasm. "Please do tell us what kind of grand finale you wish to see."

"Ah, good question... Perhaps you need inspiration! The stage hasn't been properly set. You call this a spectacle, Ephialtes? Let me show you how it's done."

They get taken to the center stage of the Colosseum. Ara hadn't been paying attention as she drove around the city, but she does remember seeing this place near the workshop she'd snuck into.

The floor is fixed, and the bleachers too. There is a roof over them to make it comfortable for the people in attendance. There is a box right in the best spot where Baccus, Piper, and Nico are seated, ready to watch the show.

"Next time, Birdy, keep your mouth shut," Percy mutters.

"I'd take the advice if it came from anyone else, but since it's you, I can't take it seriously."

"This is a proper show!" Bacchus speaks from his box, sounding like he's got a microphone on him.

"You're just going to sit there?" Percy demands.

"The demigod is right!" Ephialtes screams. "Fight us yourself, coward! Um, without the demigods."

"Juno says she's assembled a worthy crew of demigods," Baccus smirks. "Show me. Entertain me, heroes of Olympus. Give me a reason to do more. Being a god has its privileges."

The girl locks her eyes with Percy and manages a mocking smile. "Well, if we survive this, I promise to listen more often."

Percy doesn't smile. "Yeah, right."

"Let's get this over with," Jason stands ready.

The giants grab mountains of plaster and toss them over. They jump into the same trench. 

"I'll take Otis again!" Jason shouts. "Or do you want him this time?"

"Which one is Otis?" Ara asks keeping her head down.

"No, no—We attack together," Percy replies. "Otis first, because he's weaker. Take him out quickly and move to Ephialtes. Bronze and gold together—maybe that'll keep them from re-forming a little longer."

"Why not?" Jason manages his own very ironic grin. "But Ephialtes isn't going to stand there and wait while we kill his brother. Unless—"

"Good wind today," Percy points out. "And there're some water pipes running under the arena."

They look at Ara, she sighs and turns Almighty into a bow. "Yeah, fine. My weapon is gold and bronze anyway, I count for two of you."

Jason laughs and Percy grins, it's the first smile he's shown her this entire day, and it does cheer her up a little bit.

"On three?" Jason offers.

"Why wait?" Percy responds.

They run out driven by mad frustration. Percy makes the water pipes explode and Jason tosses Ephialtes backwards giving Ara enough time to get to him.

"Hey, Otis!" Percy screams. "The Nutcracker bites!"

Ara gets to where Ephialtes is and aims an arrow at him. "Hello, cutie! We haven't been properly introduced!"

"Ara Jackson!" He shrieks, struggling to get out from the pool of wet plaster and debris.

"Not the first time I've got giants screaming my name—always an ego booster," Ara shoots and the arrow lands on the giant's left eye. She turns Almighty back into a sword. "I'm such a shitty archer..."

"Argh!" Ephialtes tries to get up, but his snake foot seems to be stuck on something.

"I was pointing at your nostril," she continues while dodging his attacks. "I've learned most monsters have weird soft spots, so the crazier you aim for the more effective it is—like this!"

She cuts the foot that's stuck and Ephialtes shrieks with rage. Her skin glows teal and she opens her palm over the running water making it move faster, not allowing Ephialtes's foot to reform. The giant uses both hands and tries to smack her on the head with his spear. Ara ducks and rolls, she doesn't look at what Jason and Percy are doing, they'll let her know when it's time to retreat.

"You may have ruined my spectacle, but Gaea will still destroy your world!" Ephialtes screeches.

"If it happens, you won't be here to see it."

On queue, the large shadow of the Argo II makes itself present above their heads, and Ara lets out a chortle of relief.

Next Chapter ->

Taglist.

@siriuslysirius1107 @ask-giggles1303 @asnyox-the-hoarder @im-planning-something-look @bandshirts-andbooks @coolninjapaper @thewaterlily @whenisthefall @1randomcomic @you-bloody-shank @sunflowergraves @owlalex44 @taylordaughter @typicalsolangelolover @writingmia @espressopatronum454 @slytherinnqueen @orbitingpolaris @obxstiles @ellipsisspelled @thepixiechicksh

[ignorethisatyourperil]

Sleeping Lady (3600-2400 BC) :

This 'Sleeping Lady' clay figure was found in one of the pits of the Hypogeum in Ħal Saflieni in Malta.

It has traces of red ochre paint and is thought to represent a "mother goddess". The figurine depicts a woman, perhaps a priestess, wearing a pleated skirt and being naked above the waist, lying sleeping on her side on a couch.

The figurine of the Sleeping Lady is one of the major highlights that can be found at The National Museum of Archaeology, Malta.

[dysrope]

Cities for the City God, Problems for the Problem Throne

[turn 14 continued: 12-2*3(found city)-1(command avatar(found city))=5]

Three more major cities emerged inn the underworld over this century: Saksnes, Siktun, and Vaknerat

Saksnes is another expansion in the east. Tanmak's position grows ever stronger, and it has started openly making independent policy decisions, for itself, and for other cities, and going against commands from the capital. Tanmak's ruler has even taken to calling herself Empress [translator's note, there is no historical baggage, or any formal hierarchy of titles here, but empress certainly sounds like a fancier title than queen, and does imply sovereignty. literal translation might be something like "supreme hereditary appointed ruler of multiple cities"]. But the tributes still flow, as Chivik's military might remains supreme and the crucial chokepoint of Retvik remains in loyalist hands.

Siktun is an overseas colony, budded off from Chital. Like Chital it is based on fishing and aquaculture, but unlike Chital it is far away from Chivik, and definitely an encroachment on traditional tribal lands. It is also worryingly close to the northern trade route with the Memnarks, and there has been repeated attacks here. It is difficult for Chivik's armies to get here fast, and while the local garrison is large enough to hold the city and some key outposts, it cannot permanently crush all the opposition.

Vaknerat is an independent city far to the west, guarding the passage between the area around the Hypogeum and the central Underworld. It is quite different from other Tiktik cities, as it began as a humble caravanserai on the vital occidental trade route. Recognizing the key position, there was often conflict between different local tribes, and several wars were faught over it. Eventually, five of the main tribes realized that all the fighting was bad for business, and agreed to share the area and build up fortifications around it. This soon grew into a thriving city, and its walls rival those of any eastern city. Its unique origin means it has an equally unique social and political structure; it is officially a tribal confederation, and the five tribes remain the main political actors. The city is ruled by a council of five tribal leaders, the Pentarchy, and many institutions (such as the military) exist fivefold. Within the tribes there is clan politics, and different tribes have different traditions, and methods of choosing leaders. Any outside clans that wish to settle here must either gain access to one of the tribes, or content themselves with being unrepresented second-class citizens.