#one of the pillars of Western culture

[aaronofithaca05]

What absolute garbage have I seen?

I don't have words, I feel.........don't know how to say it, like....cold sweats.........

Damn, that was horrible and I feel horrible for the one who was asked, like how? Why? But what an absolute answer they delivered!, it was perfect!

how the fuck do you look at such a beautiful quote like that and thing "this is so odysus and peleople''. G*d you theyfabs are all the same, go and experience some actual culture rather then making everything about characters from whatever shitty 2000s thing convinced you you were a 'cute boi'. 'enbies' and fandomites have ruined every online space theyve touched. please read little women or pride and prejudice or something that will make you actually feel like a woman

Hate to break it to you terf, but Odysseus and Penelope aren't from the 2000s.

Don't pretend to be cultured just because you read that one mediocre Victorian woman book in high school if you don't recognize the names of characters from the foundational text of all western literature.

Also note that every single fascist movement claims its targets are ruining intellectual spaces by existing in them. You aren't special because you're painted pink.

[elbiotipo]

Worldbuilding in Flat Worlds

Oh, so you think I can't do worldbuilding on flat worlds?

So, you might or might not have run into my rather hyperbolic advice that the first rule of worldbuilding is placing your equator. I still stand for it, and one of these days I would like to expand on that… But many on the notes have asked, and this is fair since it's worldbuilding: what about if my world is flat? Or a cylinder, or a ring, or other such shapes? While I can't cover every shape here (though I would like to try, eventually) I can tell you one thing or two about Flat Earths, Flat Worlds, Disc Worlds, however you would like to call them, and how you can do worldbuilding on them. You will be surprised at how much myth, fantasy and science fiction can mesh here. I apologize in advance for the lack of hard numbers in such things like gravity and orbits, but I can expand if you'd like.

This is going to be a LONG post, so more, way more, under the cut:

First of all, of course many cultures have thought of the Earth as flat, it makes intiutive sense. But this idea wasn't only about a flat Earth as a disc in the middle of nothing. This belief was also accompanied by many other beliefs about the sky, and what's under the earth (while I don't want to generalize, you see this sky-earth-underground motif in most cultures) and how the gods or God shaped it; so, not only the shape of the Earth, but the entire universe, a cosmology. While I could go into much depth on various cosmologies around the world (though I suggest you do!), I will explain the two "flat earths" that are more familiar to us in the Western world; the Hebrew and the Greek cosmology.

They usually don't teach you the cool lore in Sunday school.

So, what we see in the Hebrew cosmology is a flat earth, yes, but with a firmament that, unlike some might think, does not separate the heavens (as in sky) from the Earth, but rather creates a "vault" with Earth inside from the primeval ocean, as the firmament IS the sky. As you can read in Genesis 1:6-8, in the second day of creation, God divides the waters "under" and "above" the firmament. This idea of a primeval, chaotic ocean from where the creator God(s) create the world is a feature of Mesopotamian mythology (as well as many other unrelated mythologies), and I would love to expand on it, but let's focus on what the "flat" Earth looked like to the ancient Hebrews. You have a flat earth with the foundations on an endless abyss of water, which goes all around the firmament, an inmovable (the Bible mentions this several times) sky where God placed the Sun and Moon and stars to illuminate the Earth, and floodgates where the water for rain, hail and snow (and also the Great Flood) came from. And also Sheol, and the abyss of water, which along with the "heavens" in or beyond the firmament, take into more spiritual characteristics. I could go on, but as you can already see, this is a very complex cosmology, far from a single flat disc floating on nothingness.

The world according to Homer (the other one)

Let's move on to the Greeks. Now, the ancient Greeks, like Homer, initially seemed to believe in a flat earth, with many parallels to the Mesopotamian (and Hebrew) conception of the world, with a firmament and a landmass surrounded by (or floating on, as per Thales who believed EVERYTHING WAS WATER) an ocean with Greece as the center (see below). However, this conception evolved over time. Anaximander imagined the Earth at the top of a cylindrical, inmovable pillar, but more interestingly, attempted to explain the movement of the Sun and the Moon, believing them to be, to quote Wikipedia, "circular open vents in tubular rings of fire enclosed in tubes of condensed air" surrounding Earth. This idea was later refined by Plato and Aristotle as 'celestial spheres' as paths for the planets (this included the Sun and the Moon) to wander. This concept was further explored by Plato, Aristotle, and many more, to extend to the rest of the planets (which also included the Sun and the Moon), as objects moving across "celestial spheres" inside an sphererical firmament. At this point, Greek philosophers were already thinking the Earth was some sort of sphere, even if only because a sphere was considered the 'ideal' shape, but also because they had started to notice that the Moon was also spherical, boats went under the horizon, and the shadow of Earth during eclipses was round, among many other things that current Flat Earthers don't care about. Eratosthenes was the first to calculate the sphere of the Earth with remarkable precision (you probably know this story if you've watched the old Cosmos with Carl Sagan), and from there, it was mostly accepted in the Hellenistic world that the Earth was in fact round. It was finally Ptolemy by his incredibly detailed astronomical work for the time who finally cemented this system of a round (NOT FLAT!) and unmoving Earth as the center of the universe and the celestial spheres.

The Ptolemaic Universe. Not flat! Notice that the sphere right above Earth is on fire. This is because Earth was believed to be composed of the most base classical elements (Earth and Water), surrounded by a sphere of Air, and then later the sphere of Fire where the Sun orbited. The rest of the spheres were often associated with "Aether" or "crystal", but that's for another time.

As a note, as the Hebrews entered in contact with Hellenistic and later Roman civilization, they also adopted the concepts of the round earth and the "celestial spheres", which meshed really well with the concept of "the heavens" and the "circle of the Earth" mentioned in the Bible. With the rise of Christianity, this fusion of biblical and hellenistic cosmology endured for a long time. It's a myth that medieval Europe thought the Earth was flat, they all knew and teached the Earth was round… and fixed as the center of an universe made up of celestial spheres inside an spherical firmament of fixed stars. That concept endured much longer in Western thought, but that's for another time.

One interesting thing about flat earths in ancient cosomologies is that they often took the form of a circle, and that circle had a center. The center of the world. For the Greeks, it was the Omphalos stone in Delphi (this is where the expression 'navel of the world' comes from). For the Hebrews, it was the Temple at Jerusalem, and later medieval Christian maps (the T-O maps) set Jerusalem as the center of the world. This concept of a 'center of the world' in comparative mythology is called 'axis mundi', and as you can see, it takes particular importance in a world that is believed to REALLY have a center.

So, why the history lesson? It's fun, it might give you some ideas, but mostly it's to show you that the concept of a flat earth does not only imply a flat planet (indeed, the vision of Earth as just another planet took long to arise), but also a whole cosmovision of the world around it. To be fair, our current understanding of the universe, with round planets orbiting stars and galaxies and the Big Bang IS also a cosmovision. One based on scientific observation and understanding, but cosmovision nevertheless.

But perhaps what you wanted with a worldbuilding post is a world that is flat. Like a regular planet, just shaped as a disc. Let's discuss that. First of all, is such a thing possible to arise naturally? Most probably not. While I'm sure there might be at least one exception by some freak accident in the universe, maybe more, as a rule gravity tends to compress large objects into spherical shapes. A disc would eventually break up and become an asteroid field, or it would spin and bulge into a 'pancake shape' and eventually an oblate spheroid object, with a big equatorial bulge (yes, I'm going to use the word bulge a lot here). This shape might actually be common in many fast-spinning objects (that don't break apart) across the universe, and in fact you can find it in stars such as Achernar. Earth itself is a geoid, flattened at the poles and with an equatorial bulge (told you).

However, this does not mean that flat worlds are impossible. You could assume that the gods, or an ancient alien civilization (there's a lot of overlap here) made this disc of an indestructible material. How would such the dynamics of the world work then? Finally, here, is where our worldbuilding gets interesting…

Gravity:

Gravity on a disc would be very peculiar. To make a long story short, it would be stronger at the center and weaker at the edges, with the gravity pulling towards the center, which technically is the pole (I'm going to say South Pole because I'm from the Southern Hemisphere). So, if you threw a ball, it would be pulled towards the center/pole rather than the edges, and this pull would be in a perpendicular way, decreasing the farther you go from the center:

A very ugly drawing of an speculative flat world, with a core made of ~magical~ indistructible material, covered by earth, water and air. Note the direction of gravity and how water flows into a bulge on the center.

This would make for some curious effects; water and air would inevitably flood all the way to the center of the disc, where it would make a bulge, the sea level raising in a notable way there. One way to avoid this is to make the disc spin on its center, like a roulette, the centrifugal force of such a spin would make the gravity spread to the edges. Unfortunately, it's hard to calculate how fast would it be needed for it to 'even out' gravity in the whole disc. I can be sure it would be enough to tear normal worlds made of rock and metal apart, so this flat disc would have to be made of a strong, magical material (which really works well with the mythical 'God set the foundations of the Earth' motif)… or a complex structure of orbital rings inside (ultra-advanced tech artificial structures that transport matter in an opposite way to the spin, generating enough momentum so it doesn't pull apart), or some other kind of exotic matter. The spin would probably would not be noticeable to the inhabitants of the disc in their day to day lives, though, as the 'fixed' stars would move, I'm sure the inhabitants would incorporate in their calendars.

One important thing to remember about gravity is that it's not based in the size of an object, it's based on mass. You could have a (regular) planet smaller than Earth, but with the same gravity, so long as the mass was denser. Similarily you could have huge planets with Earth-like gravity as long as the inside is less dense (bubbleworlds, another thing I'm dying to talk about). So you could have, for example, a disc the size of Earth made of a magical or ultra-tech material (let's call it Newtonlith) where certain places inside the disc would be dense to create gravity fields inside the disc. In a normal setting, this would break it apart, but perhaps, if it's in a form of a spread out gradient, it wouldn't. This would have some very odd effects, which I leave to the reader to imagine.

(I'm of course, dismissing stupid concepts from modern flat earthers such as "Earth perpetually falling down" or "gravity doesn't exist", but I have to say, they do have some wacky worldbuilding)

The Edge and The Other Side:

So, if you get to the edge, gravity would feel strange, making it harder to you to keep going since it's pushing you perpendicularily to the center, until you actuall walk into The Edge, and gravity would feel level. It would be like walking on the oustide of a wheel. However, it's hard for me to imagine what this "edge" would look like. Assuming the disc spins, I would expect the edge to get thinner and thinner, smoothing out rather than being like a sharp "coin-like" edge… or, if it spins fast enough, in fact, more of a sharp cliff or, how could I define this? "Horizontal mountain chain". However, again, we're also assuming this whole thing is made of some magical or ultra-tech material, so the edge might as well be a flat expanse imposible to erode, like a coin edge, which might let you, quite literally, walk around the circle of the Earth. In fact, some enterprising civilizations might make a railroad or transport system all around the circle. Another thing about the Edge is that, because all the water would go to the centers of the disc, it would be very dry, and it also would have winds constantly circulating in the direction of the spin. No wall of ice, at least not as I imagine it; as we'll see later, the temperature on a flat Earth would be rather uniform unless there are other conditions affecting it.

One important thing is that, assuming this is a disc *floating* in space (no elephants or turtles…), is that the other side would be as habitable too. Remember, this case is actually one where the centers of the disc are two poles, and the edge is actually the equator! (HAHAHAHA, TOLD YOU THE EQUATOR WAS IMPORTANT, EVEN IN FLAT WORLDS) So yes, you could, in a way or another, cross over the edge (the equator!) to another whole new world, cross over to The Other Side. Assuming, of course, they get light and such, which is the next point…

Before that, though: regarding horizons; no, there wouldn't be a horizon in a flat world. You could see pretty much all the way until something like mountains block your sight. It's hard to find good estimates on exactly how far though, but humans can make out faint details up to 3km away in good conditions (coincidentially, that's around where the 'horizon' is in our Earth) and lights up to 48km away. Insert your joke about Legolas here.

Orbits, Day, Night and the Sky:

How would day and night work? There are Options.

Again, assuming our magical/ultratech indestructible disc, it could spin on an axis so that each side faces the star it orbits, like a spinning coin. This would be a weird thing, especially if the planet already spins on its edge/equator, but not physically impossible. The orbit of Uranus is similar, with one pole facing the sun during summer and the other during winter, but that means an almost century long day in its case (a year in Uranus is 84 Earth years) and a similar long "day" in an Earth-like orbit. But if this world was created to spin much like Earth, there won't be that much difference between our day and night. You could even tilt it to simulate seasons.

An example of the movements of a flat world given the above; rotation on its axis (that is, the center of the disk, rotation in another axis "like a coin" to give night and day, and revolution around a star. I also went the extra mile and gave it a climate like I will discuss later: a parched edge without water, with increasingly rainy desert, savanna and rainforest as you get to the center, and at last the central sea with a perpetual storm.

But I digress. You probably aren't here for a boring normal planet that orbits a star, no, no. You want the full mythical world experience, you want a world where the Sun and the Moon spin around the circle of the Earth, and fuck Copernicus. Let's leave aside what those 'luminaries' actually ARE for now, they can be some sort of magical tech objects or literal gods. How would that work?

You could have two kinds of luminaries here. The clever folks at the Flat Earth Society imagine a sun and a moon hovering over the Earth, spinning in a circular orbit about what we call the equator (in our round Earth, of course) as some sort of giant spotlight 32 miles across and a few thousand kms away, jumping and falling out of view, as I understand it. Same with the Moon. For a more classical approach, you could also have a sun and a moon orbiting your disc, which would be interesting, as the other side of the disc would also be illuminated while the other one is dark (in many ancient myths, the sun went into the underworld at night)

The two ways you could have mini-suns: either hovering above your disk or orbiting it. I was too lazy to make a graphic, so thanks to the Flat Earth Society I guess.

Like I said in the beginning, I haven't done the calculations on how such orbits would work, other that they would be complex, and not natural or stable at all. But after all, suns 32km across that hover over a flat world aren't exactly natural. If there is a place to insert gods and magic shit, this is one, though a fusion or black-hole powered spotlight that completes a very complicated orbit following ancient programming is also an option depending on what kind of setting are you doing. You could watch some videos of people debunking actual flat earthers to get a few ideas on how they explain the whole sun thing (spoilers: they just don't believe in eclipses, which indeed would be impossible here, unless magic is involved).

Both options have VERY important implications on the climate. The first one, with a disc orbiting a star and spinning to get day and night, would mean that the disc would get the same amount of light all over it, thus having the same overall temperature, without any latitudes. The second one(s), depending on the orbits of the suns, means you could have "tropical" areas and cold areas depending on where the sun's "spotlight's" points, either as a regular orbit over an equator, or a more complicated one that might not correspond to what we would expect. Funnily enough, Terry Pratchet's Discworld's sun has such a complicated orbit it's never really explained, it even crosses the legs of the elephants upholding the Discworld sometimes.

Speaking of which, THE Discworld of course moves across space on the back of 4 elephants standing on the shell of Great A'tuin (awesome name for your Torterra in Pokémon btw), and its movement is apparently so significant that the astrologers have to regularly change their zodiacs. And indeed, a flat world would also move around its galaxy if it existed, and carrying its own fantasy sun, it wouldn't need to orbit any star to be habitable. Our own Sun is moving with our entire solar system on tow (or rather orbit) at a speed of, holy shit I had to look this up, 828,000 km/hr. However, even at this speed, the stars seem fixed to us, a whole spin around the center of galaxy (a galactic year) takes 225 million years. Still, the stars are moving like us, in fact, some constellations are in slightly different positions from ancient times, just not at the pace in Discworld.

As a final note, I believe a moon with enough gravitational pull would cause tides as it orbits the flat disc much like on Earth. Would be funny if an actual normal moon like ours orbited a flat world, with a small sun on inside its orbit (not too far from the Ptolemaic universe, actually)

Geology and Climate:

Like I said, we're assuming this flat world is made of either some sort of ultra-tech exotic matter, or was just straight created with magical material. So you would think geology would be pointless to discuss, right? Not so fast. There's some assumptions we can make. First of all, there would be no plate tectonics. Plate tectonics, of course, need an active mantle and core, which a flat world just cannot have at least on the size of Earth. So no earthquakes or volcanoes, unless there's magic involved (Terry's Discworld, which is based on Hindu mythology, played with this by having the elephants holding it up move ocassionally, causing earthquakes) So, a world with less natural disasters, wonderful, right? Sure, but in the long run (millions of years), it's tectonic activity that keeps the Earth alive, replenishing CO2, moving the continents around stimulating evolution and changes in climate and the water cycle. This can be replaced by some magical means, though that means that Something Magical is doing Stuff in your world, (you know, besides the whole flat world thing) and you better contemplate what does it mean for your setting/story. Similarily, one strange thing about geology in flat worlds is that, as mentioned, assuming gravity points to the center(s)/poles, there would be a pull towards there, so mountain peaks would be taller and pointing towards the edge of the disc, and as we will see below, also face greater erosion from there, as the winds and water would also move towards the center/pole.

What about climate? That one depends on how your light sources work. But in general, without poles or equator (well, they exist, but you know), the whole disk surface(s) would recieve equal light all year. Which means no seasons and not climate variation. Seasons are possible by tilting the disc, but overall, the climate in a disc world would be stable. Or would it? By the sheer morphology of a disc, not only water would flow into the center, but also air, and in the case of a spinning disc, it would spin into it. Air would flow into the center into powerful winds: how powerful? Difficult to say, but perhaps geography like mountains and hills could moderate them. If there was no spin, I imagine both water and air would accumulate in a large inner sea (as water would, in one way or the other, flow towards it, and water cannot be denied) and high pressure which could be an odd bulged sea with surprsingly calm weather. However, there's another option. Astronomers have studied tidally locked worlds, worlds where one side faces their star all the time. In this case, the convection currents flows from the light side flow to the dark side, creating strong winds and perhaps, assuming there is water, a perpetual storm in the light side. This has a parallel in our case, as the air in a flat world will all spin around the center, with no other way to go, and with it, it will be where all the heat and energy of the atmosphere (atmodisc?) accumulates. In this world, the center of the world (or at least, this side of it…), the axis mundi, would be the eye of a gigantic eternal typhoon.

OOOH DISCWORLD I'M HOWLING TO THE MOON

What would geography, life and culture be like in such a world, given all the things I've told you? Well, that's the most fun part. It's up to you to imagine it. I personally don't find flat worlds all that engaging (sorry, Terry), I feel more comfortable with my good old spherical worlds with tropical latitudes and all that, or other more futuristic stuff things like ringworlds or Dyson spheres (which I hope to cover in another post). But I hope I gave you enough information and ideas so that the ones you might create are both original and believable.

Thank you for reading this, I hope you enjoyed it and it inspired you to do some worldbuilding! If you would like to see more, I would be VERY grateful if you gave me a tip and some suggestions in my ko-fi below, especially as my country here in the other side of the disc is under the rule of a libertarian fascist idiot, so every little help does indeed help a lot! Follow me and stay tuned for some more wacky worldbuilding and rants about the Southern Hemisphere.

[serpentface]

What is Imperial Wardi architecture like? I don’t recall seeing many drawings of buildings and stuff like that

The architectural styles across the region are pretty diverse, both due to different environmental conditions and a variety of cultural influences. Past occupation by Imperial Bur is the strongest external influence (with most older buildings in the major western cities being built in this period), in addition to well-established immigrant communities (Burri, Kos, Titen, and Yuroma being the most populous and thoroughly integrated into the cultural makeup). The historically native population of the region is also very diverse and lends distinctive regional influences to architecture, with the Wardi nationality alone being formed out of ten tribes (though few in the contemporary retain a strong sense of individual identity), in addition to the Hill Tribes, Cholemdinae, Wogan, and Jazaiti peoples.

The base commonalities in Wardi architecture region-wide are that most urban buildings are built with brick (depending on the part of the region/its environment, these are stone, clay, adobe, and cement), and often covered with plaster and painted with decorative patterns and imagery. Most native style buildings have flat or domed grass roofs, Burri influenced buildings tend to have sloped, pointed roofs.

Timber is used sparingly or is entirely absent in contemporary architecture, as there are very few intact forests remaining in the region (lost both to deforestation and a drying climate) and trees grown agriculturally are used mainly for fuel and other wood products (particularly to be used in tools and to produce bark paper). The city of Lobera is an exception due to its proximity to one of two remaining intact forests, it's architecture is still mostly stone/brick but known for distinctive carved wooden doors and pillars.

I don't have a lot of architectural drawings because buildings hard but here's a couple south Wardi houses.

Modestly sized commoner house in the traditional style-

This is the native architectural style of this part of the region- built with clay brick, plastered and decorated, straw roof, guardian lions above the door.

Upper class villa-

This is a synthesis of the native style with significant Burri influence- made with clay bricks and decorated with paint and plaster, guardian lions, with the most distinct Burri elements being the sloping roofs with murals on their faces and walkable outer walls. It also contains a balcony with a garden above its entryway, and an open courtyard space at the center.

Homes commonly have guardian lion statues facing outward from the front entrance- while the Face Ganmache (ox) presides over the domestic sphere as a whole, the Face Odomache (lion) acts as a paternalistic guardian of the home (and particularly women and children). Most representations of Odomache depict a maned lioness (as Its broad nature is a protective mother to the collective people, nurturing via the female body and breasts and empowered via masculinization), but Odomache as household guardian represents fatherhood and the intended role of the family patriarch (protector and arbiter of the family, engaged with the public sphere so women and young children can be protected within the domestic sphere), and these statues are almost always distinctly male.

Houses tend to be built with a philosophy of a strong delineation of a semi-public and private sphere. The Wardi cultural sphere views blood family as the foundation of identity, you ARE your family name first and foremost, and an individual/member of your broader community second. Having a space that privileges only one's family and separates their domestic world from that of the public is tantamount to maintaining this sense of familial identity, as well as being both a physical and spiritual protection for its members. This delineation can be very small (or absent) in common, smaller homes, or very significant in a large, wealthy household like this.

There are strong elements of class stratification in this value system- poorer households both cannot have this physical delineation in full due to size constraints, and cannot experience this social delineation due to most or all members of the household having to frequently engage in the public sphere for labor (it is considered a privilege of wealth and security for women to live most of their lives secluded in the home).

In the villa example, a large entryway and 'living room' and courtyard are the spaces in which most guests will be received. These will have sets of couches and tables for eating. A large courtyard will have a central pool that drains into a cistern in the event of rain. Most large houses will have a kitchen adjacent to the public spaces, and quarters for any live-in servants usually occur in this area. The rooms beyond are a private sphere, containing bedrooms (which guests will virtually never enter), an additional 'living room' which will contain the hearth and household shrine, and other familial spaces. Most houses are one-story, though will often have accessible paths along the outer walls and/or an upper balcony.

Most households will keep some form of garden when possible, often for largely decorative purposes (in additions to practical growing of vegetables and spices). Flowers are culturally prioritized for both aesthetic beauty and symbolic value in relation to seasonal fertility and abundance (with the most dramatic native wildflowers growing in brief abundance after the first seasonal rainstorms), and are among the most common basic sacrificial offerings. A smaller household may just maintain wildflowers around the exterior of the home, while wealthier households often have high maintenance gardens (often with imported flowers from wetter climates) within courtyards and balconies.

[regulusrules]

Yo, I saw your post about orientalism in relation to the "hollywood middle-east" tiktok!

How can a rando and university dropout get into and learn more about? Any literature or other content to recommend?

Hi!! Wow, you have no idea how you just pressed a button. I'll unleash 5+ years on you. And I'll even add for you open-sourced works that you can access as much as I can!

1. Videos

I often find this is the best medium nowadays to learn anything! I'll share with you some of the best that deal with the topic in different frames

• This is a video of Edward Said talking about his book, Orientalism. Said is the Palestinian- American critic who first introduced the term Orientalism, and is the father of postcolonial studies as a critical literary theory. In this book, you’ll find an in-depth analysis of the concept and a deconstruction of western stereotypes. It’s very simple and he explains everything in a very easy manner.

• How Islam Saved Western Civilization. A more than brilliant lecture by Professor Roy Casagranda. This, in my opinion, is one of the best lectures that gives credit to this great civilization, and takes you on a journey to understand where did it all start from.

• What’s better than a well-researched, general overview Crash Course about Islam by John Green? This is not necessarily on orientalism but for people to know more about the fundamental basis of Islam and its pillars. I love the whole playlist that they have done about the religion, so definitely refer to it if you're looking to understand more about the historical background! Also, I can’t possibly mention this Crash Course series without mentioning ... ↓

• The Medieval Islamicate World. Arguably my favourite CC video of all times. Hank Green gives you a great thorough depiction of the Islamic civilization when it rose. He also discusses the scientific and literary advancements that happened in that age, which most people have no clue about! And honestly, just his excitement while explaining the astrolabe. These two truly enlightened so many people with the videos they've made. Thanks, @sizzlingsandwichperfection-blog

2. Documentaries

• This is an AMAZING documentary called Reel Bad Arabs: How Hollywood Villifies A People by the genius American media critic Jack Shaheen. He literally analysed more than 1000 movies and handpicked some to showcase the terribly false stereotypes in western depiction of Arab/Muslim cultures. It's the best way to go into the subject, because you'll find him analysing works you're familiar with like Aladdin and all sorts.

• Spain’s Islamic Legacy. I cannot let this opportunity go to waste since one of my main scopes is studying feminist Andalusian history. There are literal gems to be known about this period of time, when religious coexistence is documented to have actually existed. This documentary offers a needed break from eurocentric perspectives, a great bird-view of the Islamic civilization in Europe and its remaining legacy (that western history tries so hard to erase).

• When the Moors Ruled in Europe. This is one of the richest documentaries that covers most of the veiled history of Al-Andalus (Muslim Spain). Bettany Hughes discusses some of the prominent rulers, the brilliance of architecture in the Arab Muslim world, their originality and contributions to poetry and music, their innovative inventions and scientific development, and lastly, La Reconquista; the eventual fall and erasure of this grand civilization by western rulers.

3. Books

• Rethinking Orientalism by Reina Lewis. Lewis brilliantly breaks the prevailing stereotype of the “Harem”, yk, this stupid thought westerns projected about arab women being shut inside one room, not allowed to go anywhere from it, enslaved and without liberty, just left there for the sexual desires of the male figures, subjugated and silenced. It's a great read because it also takes the account of five different women living in the middle east.

• Nocturnal Poetics by Ferial Ghazoul. A great comparative text to understand the influence and outreach of The Thousand and One Nights. She applies a modern critical methodology to explore this classic literary masterpiece.

• The Question of Palestine by Edward Said. Since it's absolutely relevant, this is a great book if you're looking to understand more about the Palestinian situation and a great way to actually see the perspective of Palestinians themselves, not what we think they think.

• Arab-American Women's Writing and Performance by S.S. Sabry. One of my favourite feminist dealings with the idea of the orient and how western depictions demeaned arab women by objectifying them and degrading them to objects of sexual desire, like Scheherazade's characterization: how she was made into a sensual seducer, but not the literate, brilliantly smart woman of wisdom she was in the eastern retellings. The book also discusses the idea of identity and people who live on the hyphen (between two cultures), which is a very crucial aspect to understand arabs who are born/living in western countries.

• The Story of the Moors in Spain by Stanley Lane-Poole. This is a great book if you're trying to understand the influence of Islamic culture on Europe. It debunks this idea that Muslims are senseless, barbaric people who needed "civilizing" and instead showcases their brilliant civilization that was much advanced than any of Europe in the time Europe was labelled by the Dark Ages. (btw, did you know that arabic was the language of knowledge at that time? Because anyone who was looking to study advanced sciences, maths, philosophy, astronomy etc, had to know arabic because arabic-speaking countries were the center of knowledge and scientific advancements. Insane, right!)

• Convivencia and Medieval Spain. This is a collection of essays that delve further into the idea of “Convivencia”, which is what we call for religious coexistence. There's one essay in particular that's great called Were Women Part of Convivencia? which debunks all false western stereotypical images of women being less in Islamic belief. It also highlights how arab women have always been extremely cultured and literate. (They practiced medicine, studied their desired subjects, were writers of poetry and prose when women in Europe couldn't even keep their surnames when they married.)

4. Novels / Epistolaries

• Granada by Radwa Ashour. This is one of my favourite novels of all time, because Ashour brilliantly showcases Andalusian history and documents the injustices and massacres that happened to Muslims then. It covers the cultural erasure of Granada, and is also a story of human connection and beautiful family dynamics that utterly touches your soul.

• Dreams of Trespass by Fatma Mernissi. This is wonderful short read written in autobiographical form. It deconstructs the idea of the Harem in a postcolonial feminist lens of the French colonization of Morocco.

• Scheherazade Goes West by Fatma Mernissi. Mernissi brilliantly showcases the sexualisation of female figures by western depictions. It's very telling, really, and a very important reference to understand how the west often depicts middle-eastern women by boxing them into either the erotic, sensual beings or the oppressed, black-veiled beings. It helps you understand the actual real image of arab women out there (who are not just muslims btw; christian, jew, atheist, etc women do exist, and they do count).

• Letters of Lady Mary Wortley Montagu. This is a feminist travel epistolary of a British woman which covers the misconceptions that western people, specifically male travelers, had recorded and transmitted about the religion, traditions and treatment of women in Constantinople, Turkey. It is also a very insightful sapphic text that explores her own engagement with women there, which debunks the idea that there are no queer people in the middle east.

---------------------

With all of these, you'll get an insight about the real arab / islamic world. Not the one of fanaticism and barbarity that is often mediated, but the actual one that is based on the fundamental essences of peace, love, and acceptance.

[aroaceleovaldez]

I've been listening to hank green explain (at various times with various contexts but most recently during a vlogbrothers video on Bree Sharp's David Duchovny) how "nothing lasts on the contemporary internet" and I wonder what that might have to do with your analysis on fandom infrastructure... like IS it even possible for BNF/public AUs/OCs/fandom events to exist at the same scale in the new internet? I also have to wonder if rr is similarly operating in this new (awful) way with the knowledge that the old books could last longer as cultural moments while the new books are kinda just... there to trend for a hot minute and then fade away into nonexistence within the fandom canon. or maybe i'm just coping bc I miss old tumblr

I absolutely do think old-style fandom is possible on the modern internet! some of the oldest pillars of fandom are from BEFORE the internet was popularized! Plus, there are still plenty of old-style fandoms that are active in those same ways!

You mention "at the same scale" and i think that's interesting because, yes, a lot of those old-style fandoms that are active are smaller. The thing is the scope of old fandom we're used to when we think of classic examples are outliers who were MASSIVE. PJO was a fandom GIANT back in the day, at least so far as book fandoms went (and still is!). The major thing that's changed is that "fandom" has become mainstream - or at least, the concept of fandom.

The thing with mainstream modern fandom is it gets conflated with general audience a lot. A lot of people trying to engage with fandom when they're new to it don't understand how it's different from just being a normal fan or audience member of a thing, and so just treat them as equivalent and this causes a lot of problems. The main one being the reliance on source material - which causes a lot of newer fandoms to die out whenever there is no new source material - comparatively to old-style fandom, which is inherently self-sustaining.

Some examples of old-style fandoms that are still plenty active are furry fandom (obviously), a decent number of anime fandoms (particularly older ones or less mainstream ones cause the communities are smaller/closer-knit, also their fandoms aren't as strictly western-leaning), and Hermitcraft/associated fandoms is one particularly that I'm in that's VERY active and old-fandom style. They're constantly engaging with material that's long over or series that have ended (Evo, older Life series, older Hermitcraft seasons, etc). They have fandom OCs/AUs/concepts that are shared, they have a TON of projects happening constantly (a recent massive one that just finished is the Hotguy Comics zine! It's an incredibly cool project). Hermitcraft fandom is pretty much the closest new* fandom to old-style fandom that I've found so far (*it is technically 11 years old but it had a recent boom during the MCYT surge in like 2020).

But yes! Old-style fandom absolutely can still exist - and does! It's just far less common because the mainstream image/concept of what fandom is that has become popularized differs from it in practicality. People are being introduced to fandom as just being equivalent to a general audience and are interacting with it as such, when it should be interacted with as a niche, very passionate community. The core of old fandom is always community.

I guess i would describe it as like, passive fandom versus active fandom? Passive fandom being the "new fandom" type format - near complete reliance on source material, usually some attitude of entitlement towards fanwork creators because theyre viewing it as another source material to passively engage with, large lack of headcanons or hcs being equated to theories, shipping is restricted almost exclusively to canon pairings (and ships/headcanons are treated more as things you want to become canon, not explorations outside of canon), etc etc. There's no community or creation happening, only a focus on consumption and maybe at best how to streamline consumption (the only sorts of hubs we see form in this type of fandom are update accounts and official social medias). Basically no proper community has formed and there is little to no engagement with the material outside of the source media. (I also have a theory that this format leads to some New Fandom behaviors that have become more commonplace comparatively to Old Fandom, such as a LOT more trying to directly interact with writers/cast/crew or reliance on them as secondary source materials during hiatus or similar - we see this now with PJO TV and a lot of people downright literally stalking the actors - and almost a refusal to make fanwork of their own. You see a lot more of "omg somebody write/draw [concept]" or trying to pitch ideas to source material writers because they only want to engage passively, not actively, or genuinely don't know how to engage actively.) Big Name Fans can absolutely exist in this sphere, but it's a completely different environment (for PJO, Velinxi is a good example of a new fandom BNF - ive found in this format of fandom, BNFs are almost exclusively fanartists, because fanart is one of the easiest fanworks to find and passively engage with. This also often results in the community being extremely entitled towards larger fanartists).

Active fandom, comparatively, is focused on community and creation. This is where you see fandom projects, engaging with the media beyond the source material, things of that nature. There is actually a structured community.

This post got long but I have more points regarding the second half of your question and my thoughts for why the new books are so. Like That. so I'm going to move that whole ramble to a second post which I will post momentarily.

[part 2 here!]

[dieletztepanzerhexe]

The most recent culture of the Upper Palaeolithic (the Late Upper Palaeolithic) in western and Central Europe is the Magdalenian, 20,000 - 12,500 years ago.

A man of the Moravian Magdalenian. He holds a spear-thrower using the principle of leverage, and a spear with a bone projectil point with saw-like razor-sharp microlites. The horses on his clothing are depicted according to a decorated object found in the Pekárna Cave (the Moravian Karst).

In front of the tent in the Pekárna in Moravian Karst cave. The large cave didn´t espace notice of the Magdalenian hunters, which were tracking the cariboos herds around the karst areas. In the cave of Pekárna, the rank of fireplaces was discovered across the corridor, which was probably the standing place of the tents. The cave climate was convenient for fabrication of the cariboo meat. The karst area enabled the hunters to use the terrain for building perfect traps.

Fascinating artefacts found in the Pekárna cave: tiny bone needles, Silicit tools, embedded into boned or horn handgrip, harpoons, blade-liked, decorated artefacts and fascinating portrayals of the scenes of the wildlife on the horse ribs (grazing horses, fighting bisons).

A camp of reindeer hunters of Petersfels

The picture takes us to southwest Germany, the well-known site of Petersfels by Engen. The narrow valley became a trap for hunted reindeer. Reindeer were killed there on a large scale, as the remains of their bones witness. The peculiarity of this picture is that the photographic studies were not created artificially, but were made just on the site, where well-versed fans displayed their home-made clothes, tents and Magdalenian weapons

Notice the antler heads of the throwing weapons, which were made so well that they can be compared with the artistic level of carving in butts of the recent firearms. 

One of the most beautiful and imaginative engravings on the thrower represents two fighting Capricorns. The Trois Frères cave in France. The image reconstruction represents the artefact in it´s original form (the heads of the Capricorns are not preserved).

A Magdalenian bone points with microlites A bone point from the Drátenická Cave in the Moravian karst. This artefact is now in the Institute Anthropos, which is a part of the Moravian Museum (Moravské zemské muzeum) in Brno. You can see (the lower part to the right) an impression of the former careful and fine binding. The reconstruction depicts the procedure of its piecing together.

The convenient terrain helps during the hunting. The Northern societies often hadn´t have enough members for driving the gregarious animals. Therefore, they built stone pillars, which the hunted cariboos were not able to distinguish from the hunter.

The bone needles found in abundance both in Petersfels and the Moravian Karst are different from those of the Gravettian. The woman in the picture is sewing a piece of clothing using an awl and a needle. The man is repairing the bone point of a weapon. He easily replaces individual broken segments of the cutting edge with new ones. To the left from him, there is his equipment, such as throwing weapons, lamps, a chieftain’s baton, a flute and bone points.

The reconstructional imitations of clothes dating back to the era of the Magdalenian reindeer and horse hunters. The first clothing is exhibited in the Museum of Engen. You can see decorative patterns made according to an ornamented shovel-like object found in the Moravian Karst on the right clothing.

A spear-thrower  was ideal for hunting animals living in herds, such as horses and reindeer. It was capable of shooting a maximum amount of projectiles within a minimal period of time. The accuracy of shots at a mass of running bodies was unimportant, the work was completed by sharp points. Most likely massive stone pillars were used when driving reindeer. Reindeer avoided them in the same way as they avoided people. That is why the Magdalenians preferred such environment where limestone screes, of which they erected the pillars, were available, e.g. outcrops of limestone, which are characteristic of the karst areas. The whole life of these people was closely connected with animals living in herds, and it formed their culture. The Magdalenian settlements came to Central Europe, namely to Poland, 16,000 years ago and to Moravia about 13,000 years ago

The representation of women, the unmistakable Magdalenian Venuses, was quite curious. Women’s figurines hardly bore any detail, they were often just outlined, and their bottoms were always stuck out. Some small figurines had holes for hanging.

One of the few Magdalenian Venuses that provided at least some information about her hairdo.

[artifacts-and-arthropods]

Stone Turtle of Karakorum, Mongolia, c. 1235-1260 CE: this statue is one of the only surviving features of Karakorum, which was once the capital city of the Mongol Empire

The statue is decorated with a ceremonial scarf known as a khadag (or khata), which is part of a Buddhist custom that is also found in Tibet, Nepal, and Bhutan. The scarves are often left atop shrines and sacred artifacts as a way to express respect and/or reverence. In Mongolia, this tradition also contains elements of Tengrism/shamanism.

The city of Karakorum was originally established by Genghis Khan in 1220 CE, when it was used as a base for the Mongol invasion of China. It then became the capital of the Mongol Empire in 1235 CE, and quickly developed into a thriving center for trade/cultural exchange between the Eastern and Western worlds.

The city attracted merchants of many different nationalities and faiths, and Medieval sources note that the city displayed an unusual degree of diversity and religious tolerance. It contained 12 different temples devoted to pagan and/or shamanistic traditions, two mosques, one church, and at least one Buddhist temple.

As this article explains:

The city might have been compact, but it was cosmopolitan, with residents including Mongols, Steppe tribes, Han Chinese, Persians, Armenians, and captives from Europe who included a master goldsmith from Paris named William Buchier, a woman from Metz, one Paquette, and an Englishman known only as Basil. There were, too, scribes and translators from diverse Asian nations to work in the bureaucracy, and official representatives from various foreign courts such as the Sultanates of Rum and India.

This diversity was reflected in the various religions practised there and, in time, the construction of many fine stone buildings by followers of Taoism, Buddhism, Islam, and Christianity.

The prosperous days of Karakorum were very short-lived, however. The Mongol capital was moved to Xanadu in 1263, and then to Khanbaliq (modern-day Beijing) in 1267, under the leadership of Kublai Khan; Karakorum lost most of its power, authority, and leadership in the process. Without the resources and support that it had previously received from the leaders of the Mongol Empire, the city was left in a very vulnerable position. The residents of Karakorum began leaving the site in large numbers, until the city had eventually become almost entirely abandoned.

There were a few scattered attempts to revive the city in the years that followed, but any hope of restoring Karakorum to its former glory was then finally shattered in 1380, when the entire city was razed to the ground by Ming Dynasty troops.

The Erdene Zuu Monastery was later built near the site where Karakorum once stood, and pieces of the ruins were taken to be used as building materials during the construction of the monastery. The Erdene Zuu Monastery is also believed to be the oldest surviving Buddhist monastery in Mongolia.

There is very little left of the ruined city today, and this statue is one of the few remaining features that can still be seen at the site. It originally formed the base of an inscribed stele, but the pillar section was somehow lost/destroyed, leaving nothing but the base (which may be a depiction of the mythological dragon-turtle, Bixi, from Chinese mythology).

This statue and the site in general always kinda remind me of the Ozymandias poem (the version by Horace Smith, not the one by Percy Bysshe Shelley):

In Egypt's sandy silence, all alone,

stands a gigantic leg

which far off throws the only shadow

that the desert knows.

"I am great OZYMANDIAS," saith the stone,

"the King of Kings; this mighty city shows

the wonders of my hand."

The city's gone —

naught but the leg remaining

to disclose the site

of this forgotten Babylon.

We wonder —

and some Hunter may express wonder like ours,

when thro' the wilderness where London stood,

holding the wolf in chace,

he meets some fragment huge

and stops to guess

what powerful but unrecorded race

once dwelt in that annihilated place

Sources & More Info:

University of Washington: Karakorum, Capital of the Mongol Empire

Encyclopedia Britannica: Entry for Karakorum

World History: Karakorum

[bestiarium]

The Wandjinas [Australian Aboriginal mythology]!

In the belief system of the native Aboriginal people of Kimberley, Western Australia, the peculiar rock paintings called ‘Wandjina’ play a significant cultural role. The depicted spirits have a very distinct appearance with a mouthless face, large eyes and their signature headdress.

Long before humans existed, the Wandjinas populated the earth along with Ungud, a divine being. These mysterious spirits are each responsible for the creation of a specific feature of nature and the world we live in.

And so these beings wandered around the world, shaping it into the landscape we can see today. When their work was done, each Wandjina wandered into a cave and died, transforming into the painting. This is actually an important distinction: though I’m using the word ‘painting’ in this article, traditional Aboriginal belief holds that the Wandjinas were never actually painted by someone. Instead, they appeared on the stone walls as the reincarnation of the Wandjina’s living form.

As such, it is important that these paintings are renewed every year (this typically happens at the end of the dry season), for if a painting is lost then the spirit of that Wandjina will die. If the Wandjinas are lost or destroyed, the world would end and there would be no more rain; the Earth would become a barren desert landscape and the pillars that hold up the heavens will break.

Renewing a painting of a female Wandjina in particular will replenish the fertility of the people, which supposedly causes an increase in births. It is actually unknown why Wandjina are always depicted without mouths, but this is an important characteristic as native people claim it would be unthinkable to add one. Anthropologists have speculated that this symbolizes the spirits’ life-giving nature: they always create, and never consume.

Sources: Blundell, V. J., 1974, The Wandjina Cave Paintings of Northwest Australia, Arctic Anthropology, 11, pp. 213-223. Cotterell, A. et al., 1999, Encyclopedie van de Wereld Mythologie, Parragon, 320 pp. (image 1: Wandjinas near the Barnett River. Image source: Graeme Churchard)

[jedineedlove]

The Four Symbols

"According to the archaeological evidence, the concept of the Four Symbols may have existed as early as China’s Neolithic period (some 6,000 years ago). This is based on some clam shells and bones forming the images of the Azure Dragon and the White Tiger that were found in a tomb in Henan." "I Ching (易經), a Chinese divination text also known as the Book of Changes, traces the roots of the Four Symbols back to the beginnings of the world. It alleges that they were bred from the famous ring of yin-yang (陰陽), which instils order upon the chaotic spirit of Taiji (太極)."

Four Guardians, Four Gods, Four Auspicious Beast

Each corresponds to a quadrant in the sky, with each quadrant containing seven seishuku, or star constellations (also called the 28 lunar mansions or lodges; for charts, see this outside site). Each of the four groups of seven is associated with one of the four celestial creatures. There was a fifth direction -- the center, representing China itself -- which carried its own seishuku.

The four Symbols hold significant symbolic meaning in cosmology and culture. They represent harmony and balance od the universe. The represent the harmony and balance of the universe. Each symbol governing a specific direct , season and set of elements. The symbols are associated with the five elements theory, which is crucial in traditional medicine , Feng Shui, and astrology. The also represent the cyclical nature of time, as they are closely tied to the Chines zodiac and the twelve Earthy branches.

The Four symbols paly a significant role in Shines astrology particularly in the Chinese zodiac, each symbol is associated with the specific year within the 12-year zodiac cycle, along with the five elements (wood, fire, earth, metal, and water) The combination of the symbol and the element determines the characteristics and destiny of individuals born in the particular year. The four symbol also influence their astrological systems, such as the Eight Characters (BaZi) and the Four Pillars of Destiny.

I thought I compare the LMK versions of them to the real mythology.

Vermilion Bird: Symbol of the South

Vermilion Bird aka Phoenix or Zhuniao, is the symbol of the southern direction. It is associated with the season of summer and represents the element of fire. It is the symbol of rebirth, immortality, and prosperity. It is also often associated with love, beauty, and passion.

Color- Red

Time of Day - Midady

Appearance: said to have chicken’s head, swallow’s chin, snake’s neck, fish’s tail, and five-color feather. ;or A mythical bird with colorful plumage and radiant feathers.

Its seven mansions are the Well, Ghosts, Willow, Star, Extended Net, Wings and Chario

Black Tortoise: The Symbol of the North

The Black Tortoise aka Black Warrior, Xuanwu is the symbol of the northern direction. Associated with the season of winter and element of water. Believed to bring protection and longevity. It is also associated with knowledge and wisdom and the control of water.

Color- Black

Time of Day- Midnight

Appearance: A giant tortoise with a snake wrapped around its back

 Its seven mansions are the Dipper, Ox, Girl, Emptiness, Rooftop, Encampment and Wall.

Azure Dragon: Symbol of the East

Azure Dragon aka Blue Dragon or Qinglong, representing the easter direction. The ruler of the sky and is associated with the season of spring, the element of wood and is believed to being harmony and good fortune to those who embrace its energy.

Color: Blue- green

Time of Day - Dawn

Looks – serpent like body, deer-like antlers, fish-like scales and eagle-like claws.

The Azure Dragon as it is said that when the seven mansions in that area (Horn, Neck, Root, Room, Heart, Tail, and Winnowing Basket) are joined up, they form the shape of a dragon

White Tiger: The Symbol of the West

White tiger aka Baihu, is the guardian of the western direction. Associated with the season of autumn and the element of metal. Believed to represent strength, courage, and protection. Its is also associated with the celestial guardian of the west a powerful deity known as Xuanwu

Color- White

Time of Day- Dusk

Appearance: a creature with a tiger's body and lions' mane.

the White Tiger, and its seven mansions are the Legs, Bond, Stomach, Hairy Head, Net, Turtle Beak and Three Stars.

it was held to be the God of War. In this capacity, the White Tiger was seen as a protector and defender, not just from mortal enemies, but also from evil spirits.

A symbol of force and army, and so many things entitled White Tiger in ancient China are related to military affairs. For instance, the white tiger banner in the ancient army and the white tiger image on the Commander’s Tally. In the Han Dynasty, the White Tiger was usually carved on the stone relief of a tomb door, or on the lintel of a tomb passage with the Azure Dragon, to ward off evil spirits.

This puts a lot together and I'm impressed with the details that the show animators and designers put into their character designs.

Also..

Yellow Dragon: Symbol of Central

Yellow Dragon aka Qilin the symbol if the Central direction, and is associated with the season Midsummer and the element earth.

Color: Yellow

--

Comparing them they share the colors with the stones and the yellow dragon (central) seems to correspond with the jade emperor's yellow stone. Once again love the show details.

Nearly forgot about this and left it in the drafts wanted to post this then completely forget them.

[bipolarman2022]

**Title: "The Transformation of Miguel"**

**Chapter 1: A Chance Encounter**

Miguel, a young Spaniard from a well-to-do family, had spent his life pursuing knowledge in the cloisters of academia. He had always been curious, seeking answers in books of philosophy and theology, but lately, nothing seemed to satisfy his thirst for understanding. The life he led, filled with Western studies and family traditions, felt incomplete to him, lacking the spiritual depth he yearned for within.

One day, while walking through the bustling streets of Córdoba, Miguel came across a bazaar full of colors and sounds he had never experienced before. There, among the stalls of spices and fabrics, he saw a sign that read: “Classes on the Quran and Islamic Philosophy.” Intrigued by the idea of learning about a culture and religion so foreign to his life, Miguel decided to attend one of these classes, driven by his insatiable curiosity.

**Chapter 2: The Arab Teacher**

The class was held in a small madrasa located in a quiet alley. Upon entering, Miguel was greeted by Ahmed, an Arab teacher with an imposing presence and an air of deep wisdom. Ahmed was known throughout Córdoba not only for his vast knowledge of the Quran but also for his ability to convey the essence of Islam with patience and clarity.

Miguel, with his expression of wonder and naivety, began attending the daily lessons. At first, he didn’t understand much about the Quranic verses or the Muslim customs that Ahmed taught with such passion. But little by little, Ahmed’s enthusiasm and devotion began to awaken in Miguel a genuine interest in understanding Islam beyond its stereotypes.

**Chapter 3: The First Steps in Islam**

Miguel was fascinated by the teachings of the Quran and the wisdom contained in its words. He marveled at how Ahmed explained the importance of inner peace, submission to Allah’s will, and brotherhood among believers. The teacher taught him about the Five Pillars of Islam: Shahada (the profession of faith), Salat (prayer), Zakat (charity), Sawm (fasting during Ramadan), and Hajj (pilgrimage to Mecca). Each lesson drew him deeper into a state of awe and respect for this new way of life.

Miguel, naive in many aspects of Muslim life, would ask questions that seemed obvious to Ahmed. But the teacher, with infinite patience, always answered, not with mockery but with a sincere desire to share his faith. Gradually, Miguel began to participate in prayers, fast during Ramadan, and learn Quranic verses in Arabic, something he never would have imagined doing before.

**Chapter 4: The Growing Fascination**

As the months passed, Miguel felt increasingly drawn to Ahmed, not just because of his wisdom but also for his charisma and deep sense of inner peace. Ahmed spoke to him about the ways of the Prophet Muhammad, explaining how Islam was not just a religion but a way of life that embraced justice, compassion, and equality. Miguel felt he had finally found something that filled the void in his heart.

Ahmed also noticed something special in Miguel. He saw not just a student eager for knowledge but someone with the potential to be a great defender of the faith. He taught Miguel to recite the Quran, interpret its meanings, and live according to the principles of Islam. Each lesson was an open door to a new world, full of meaning and purpose.

**Chapter 5: A New Path**

One day, after an intense study session, Miguel approached Ahmed with a decision he had been contemplating for weeks. "I want to convert to Islam," he declared with determination. "I want to follow the path of Allah and be like you, someone who lives with purpose and inner peace."

Ahmed smiled with a mix of pride and affection. He knew that Miguel was ready to take this important step. He took him to the mosque, where Miguel recited the Shahada with tears in his eyes, surrounded by his new teacher and his new brothers in faith.

**Chapter 6: Leaving Everything Behind**

Miguel, now known as Jamal, decided to leave behind his previous life, his old beliefs, and his family, who never understood his fascination with Islam. He left everything for this new life, for his new brothers, and above all, for Ahmed, who had become more than a teacher to him. Ahmed was now his mentor, his spiritual guide, and the reflection of everything Jamal wanted to be.

Every day, Jamal learned more about Muslim customs. He helped those in need, participated in philosophical debates at the madrasa, and dedicated himself to memorizing the Quran. His transformation was complete; he was no longer the naive young man who had first entered the bazaar in Córdoba but a man with a mission: to live fully in Islam.

**Epilogue: A Devoted Disciple**

Jamal's story became a legend in Córdoba, an example of how faith and devotion can transform even the most skeptical of hearts. Under Ahmed's guidance, Jamal not only found a new purpose but also became a teacher in his own right, teaching others about the beauty of Islam, always with the memory of his own transformation in his heart.

And so, Ahmed's library remained a beacon of light and wisdom in Córdoba, a place where seekers of knowledge, regardless of their origin, could find the path to true peace and understanding.

[chatty-moogle]

Final Fantasy XIV Sidequest Guide: Heavensward Edition

When looking up which of FFXIV's many many sidequests were worth doing, I found that most of the lists were heavily focused on the rewards rather than whether the sidequest itself was interesting or added to the overall game experience. So I decided to make a guide myself :)

The sidequests listed here are selected based on their story, or their contribution to the worldbuilding or lore. CTRL+F for the relevant location (e.g. "Coerthas Western Highlands", or "Falcon's Nest"), take a look at the blurbs to see whether they appeal to you, and have fun!

This section is for the Heavensward sidequests, since that's where I started this whole project~ Click below for details!

Note: unlike A Realm Reborn, each settlement will have sidequest chains with a bit more effort put into them, as flagged by the quest pop-up notice having a cutscene screenshot (similar to the more significant MSQs). If you want to get a feel for a place but don’t have the time or inclination to do a lot of sidequests, I’d recommend doing those ones first – though note that they can definitely get quite long! I’ll refer to these as “flagged” below, for clarity.

Ishgard

Like previous cities, Ishgard has a number of sidequests to flesh out the city and get newcomers exploring. Here are some of the better (or at least more informative) ones.

(Foundation – The Forgotten Knight) Gibrillont ~ “Drinking the Pain Away” (Lvl 50) – a story which highlights the extent of Ishgard’s religious dogma, particularly the disastrous effects an accusation of heresy can have on a household

(The Pillars – Fortemps Manor) Torsefers ~ “Dinner for Four” (Lvl 50) – a delivery run on behalf of House Fortemps to the three other High Houses of Ishgard; highlights the connections and rivalries between the Houses

(The Pillars – The Jeweled Crozier) Mathye ~ “Landing a Stable Job” (Lvl 50) – leads you to the Lightfeather Proving Grounds, and gives some context to the culture around chocobos in Ishgard. Not terribly exciting

(Foundation – Aetheryte Plaza) Fury-fearing Elezen ~ “Remembering Ishgard” (Lvl 50) – a tour of some of the locations in Ishgard; outlines lore behind the statues gracing Saint Reinette’s Forum and Saint Valeroyant’s Forum. Not very exciting, but lore-lovers might want to check it out.

(The Pillars – The Jeweled Crozier) Mathye ~ “Landing a Stable Job” (Lvl 56) – leads you to the Scholasticate, and demands a rare bit of simple puzzle-solving

Coerthas Western Highlands

There aren’t a huge amount of sidequests here compared to the other regions, and the pace of them unlocking is not too overwhelming. If you want to give the main story just to give a bit more flavour and context, I’d recommend doing the five already-unlocked sidequests in Falcon’s Nest (+ The Anvil) before progressing with MSQ “At the End of Our Hope” near the end of the Artoirel questline.

Falcon’s Nest

Sigan’s questline (flagged); starts with Auriaune ~ “Stolen Goods” (Lvl 50) – the first quest isn’t all that interesting, but the questline overall deals with how there used to be a village at Falcon’s Nest before the Calamity struck, and how that is being dealt with now

(Not in Falcon’s Nest) Bohemondas “Homesick” (Lvl 51) – a story about a father and son who lived at Falcon’s Nest before the Calamity, and who have rather different viewpoints on its current state. Note that the questgiver is not based in Falcon’s Nest, but in Ishgard, specifically Foundation (X:9.5, Y:10.3)

The Convictory

Saintrelmaux’s questline (flagged); starts with Dominiac ~ “The Secret to Success” (Lvl 51) – this questline does give a bit of insight into life at the Convictory, as well as into Ishgardian high society. But more than anything it’s just a nice story about someone who, in learning more about dragons to hunt them, learns more about himself

Bonifoix ~ “Remember the Fallen” (Lvl 56) – about the sole survivor of a dragon-hunting expedition; a rare illustration of the dangers faced by the Convictors

Margyt and Ayleth’s questline (flagged); starts with Margyt ~ “Unknown Ultimatum” (Lvl 56) – initially a tale of revenge, but it doesn’t go the way you’d expect; this questline also touches upon into the otherwise-unexplored internal politicking and hierarchies at the Convictory. Honestly, I’m not sure whether to recommend this questline as it seems to undermine the ending of Saintrelmaux’s questline, and some plot points are frustratingly gendered (one of the characters is a female dragon-hunter unhappy about not being given opportunities by her male boss, but the story ends with her becoming his loyal subordinate, accepting that it’s better for her to be in a supporting position)

Other

(Located at Falcon’s Nest) Ingaret ~ “Grandfather’s Belongings” (Lvl 50) – gives a little more insight into pre-Calamity Camp Riversmeet area

(Located at the Anvil) Ysaudore ~ “Dances with Wolves” (Lvl 50) – pairs well with “Protecting What’s Important”, as it gives the Ishgardian view of Camp Riversmeet. Note that the questgiver is based at the Anvil (X:26.5, Y:27.9)

(Located at the Convictory) Wealdtheow ~ “For All the Nights to Come” (Lvl 51) – apart from being a must-play due to its completion being necessary to unlock flying in the region, this quest also contains the surprisingly elaborate backstory behind the Dusk Vigil, a tale which leans into the vicious politics of Ishgard

(Located at Falcon’s Nest) Well-mannered Widow ~ “Flower Mill” (Lvl 51) – explains the story behind Gorgagne Mills

(Located at Falcon’s Nest) Troubled Elezen ~ “The Old Man and the Lake” (Lvl 56) – about a man trying to persuade his uncle to move to Falcon’s Nest, away from his house in the middle of nowhere. Best when paired with “When the Ice Melts” (see below), which gives the other’s point of view

(Located at Oakum Landing) Emont ~ “When the Ice Melts” (Lvl 56) – a little vignette about the uncle of “The Old Man and the Lake”, who continues to live out by the frozen lake even after the Calamity. Note that the questgiver is based at Oakum Landing (X:36.4, Y:9.9)

The Dravanian Forelands

There’s a huge amount of sidequests in this area that unlock quite close together (nearly fifty, double that of the Coerthas Western Highlands)! As such, I would definitely recommend doing the minimum to unlock flying (i.e. collecting all the Aether Currents) in the region and maaaybe doing the flagged quest chains before proceeding with the other sidequests. In general, I found the Loth ast Vath and Anyx Trine sidequests more interesting than those at Tailfeather, as the former give you insight into the Vath and the dragons while the latter will feel quite familiar to anyone who’s done the Botanist or Carpenter job quests, or sidequests in the Shroud. If you’re picky, I’d say that the Anyx Trine sidequests are the most worth doing – many of them are cute and give more emotional weight to Ysayle’s position.

Tailfeather

Q’yantaa’s questline (flagged); starts with Loupard ~ “I Wanna Be the Hunter” (Lvl 52) – a tale of a young Miqo'te starting out as a chocobo hunter, and her trials in finding a suitable hunting buddy. One of the weaker flagged quest chain stories IMO, but the very first quest “I Wanna be the Hunter” is worth doing for the insight into the life of a chocobo hunter

Marcechamp ~ “Some Bad News” (Lvl 52) (Aether Current) – gives a little context on how the camps in the Chocobo Forest connect together and Tailfeather’s role as the central hub in the region

(Not in Tailfeather) Guanaret ~ “Why Does the Caged Bird Sing” (Lvl 52) – insight into a chocobo hunter’s everyday life, and one of the key tenets of chocobo hunting. Note that the questgiver is not based in Tailfeather, but at one of the camps (X:39.5, Y:21.7)

Remaclon ~ “What Remaclon Saw” (Lvl 52) – gives a bit of context to the ruins in the Chocobo Forest, and the typical Ishgardian perspective on it. Gives more flavour to the main story if you do this before MSQ “Mourn in Passing”, as it contrasts with Ysayle’s explanation

Hervoix’s questline (flagged); starts with Hervoix ~ “Getting a Legtrap Up” (Lvl 57) – following on from the tale of eager young hunter Q’yantaa is that of a wannabe hunter who shirks his duties, bristling at the menial tasks that his mentor gives him. (This is also a good illustration of what residents of Tailfeather busy themselves with, outside actual chocobo-hunting.) Eventually dovetails nicely with Q’yantaa’s story

Loth ast Vath

(Not in Loth ast Vath) Nonmind Drone ~ “Awakened” (Lvl 53) – a good illustration of how the Vath differ from the earlier beast tribes, in that Vath are not simply “the one good tribe” of that species but rather those of that species who separate from a larger whole. Shows Loth ast Vath’s importance as a sanctuary for nonmind Gnath. Note that for obvious reasons the questgiver is not based in Loth ast Vath, but at the Gnath Stronghold (X:31.8, Y:38.6)

Astute Vath ~ “Advanced Vathematics” (Lvl 53) – following on from “Awakened”, this sidequest illustrates how the line between Vath and Gnath is much more blurred compared to other beast tribes

Vath Storyteller ~ “The Naming of Vath” (Lvl 50) (unlocks Vath Beast Tribe Quests) – similar to “Awakened”, this quest deals with a newly-turned Vath developing a sense of identity, but is a bit more fleshed out and elaborates a bit on the interaction between Gnath, Vath, and the chocobo hunters. Results in a visual change to Loth ast Vath, which is cool! Note that it only unlocks after getting to a certain point in the main story (MSQ Lvl 53).

The Hungerer and Cibleroit’s quests; starting with “Low-hanging Fruit” and “To Each His Own” (both Lvl 52) – a few simple sidequests which do a good job illustrating the difference between Vath and Gnath. Also, the two of them are cute <3

Anyx Trine

Kal Myhk’s questline (flagged); starting with Gullinkambi ~ “When Mother Calls” (Lvl 53) – as a story about the WoL becoming friends with a young dragon, this would already be cute enough, but it’s also a good illustration of the how human-dragon relations were in the past and how they have been soured by the Dragonsong War. Definitely recommended for those who want to add a little more emotional context to the main story, as this gives players an opportunity to really understand where Ysayle is coming from in terms of dragons and humans being able to live in harmony

Toh Y Thrah’s questline; starts with “How to Feed Your Dragon” (Lvl 53) – you help a baby dragon try out some delicacies. The first two sidequests aren’t too exciting, though they do tell you what dragons like to eat if you’re interested, but the third and last one (“A Taste of the Peculiar”) is surprisingly sweet

Ess Khas ~ “A Lesson in Humility” (Lvl 53) (Aether Current) and “Back in the Game” (Lvl 53) – a cute set of sidequests about an old dragon trying to teach his sons humility

Indomitable Wyvern ~ “Blunders in Dragonsitting” (Lvl 53) – a cute story about a dragon looking out for his younger brother (also a dragon)

Sea of Clouds

I personally didn’t find the sidequests in the Sea of Clouds all that interesting; in particular, they don’t flesh out Camp Cloudtop or the Rosehouse beyond what can be gleaned from MSQ dialogue or talking to the NPCs. The Zundu’s sidequests generally weren’t as interesting as the ones for non-human questgivers in the Dravanian Forelands, either.

The Rosehouse

Gildon’s questline (flagged); starts with Gildon ~ “Bargaining Chip” (Lvl 50) – about a man eager to motivate the decidedly unmotivated troops posted to the quiet Camp Cloudtop and Rosehouse, but whose passion is mistaken for foolishness (sometimes correctly). One of the weaker flagged questlines in Heavensward, but the humorously hostile dynamic between Gildon and Camp Cloudtop provisioner Fabrellet is one of the more fleshed out amongst the expansion’s town NPCs

(Not in Sea of Clouds) Hyur on Hard Times ~ “Looking to the Future” (Lvl 51) – somewhat unexpectedly, minor NPC Marielle has a bit of a backstory. Note that the questgiver is based in Ishgard’s Foundation (X:12.5, Y:10.9)

(Not in Sea of Clouds) House Haillenarte Knight ~ “Honoring the Past” (Lvl 56) – goes a bit into some history regarding House Haillenarte, including Laniatte of the Rosehouse’s background. Note that the questgiver is based in Ishgard’s Pillars (X:11.5, Y:10.9)

Ok’Zundu

Gunu Vanu’s questline (flagged); starts with Guna Vanu ~ “Flying the Nest” (Lvl 57) – an amusing tale of a Zundu far past the threshold of adulthood who, due to his laziness, has failed the coming-of-age trial eight times… and counting. Better to leave for when you’ve unlocked flying in the region

Sonu Vanu~ “On Wings of Vanu” (Lvl 57) – a no-combat quest which encourages flying about the area; gives context to the woven orb-like objects you may have seen hanging from some of the islands. Requires flying

(Not in Ok’Zundu) Zundu Intelligencer ~ “For Your Spies Only” (Lvl 57) – a glimpse into the Zundu’s espionage network, which is a fancy way of referring to the scout who monitor the Vundu up close. Note that the questgiver is not based at Ok’Zundu, but at (X:23.0, Y:19.8). Requires flying

Hinu Vali ~ “Returning What’s Ours” (Lvl 57) – gives some context on the tense history between the Zundu and Vundu

Aanu Vanu ~ “Winds of Ill Omen” (Lvl 57) – some lore titbits regarding Vundu totems, and the totems’ significance to the Zundu. IIRC flying is required

Churning Mists

The sidequest unlocks were paced a bit strangely here; the initial round that unlocks when you’re in the area for MSQ reasons is (relatively) manageable in number, though on the whole not that interesting. However, if you for some reason decide to return after a certain point in the MSQ, then you’ll find a ton of sidequests waiting for you… and even more, after you’ve completed that round. Many of the later sidequests are actually part of separate quest-chains, so if you plan on completing most of them, I’d definitely recommend pacing yourself and unlocking flying first.

Moghome

Mogleo’s questline (flagged); starts with Mogleo ~ “A Pebble for Your Thoughts” (Lvl 54) – a cute little tale about a young moogle who dreams of joining the Pomsguard, and his adventures in helping other moogles across the Churning Mists

Mogomo ~ “Nut Job” (Lvl 54) – gives a little insight into life at Moghome; you get to pick kupo nuts!

Pomguard questline (flagged); starts with Mogloo ~ “Protecting the Pom” (Lvl 55) – follows Mogkul, second-in-command of the Pomguard, and his attempts to protect Zenith along with his fellow moogle soldiers. Outlines the arrangement between the moogles and Hraesvelgr, but isn’t particularly interesting as a story. I’m also not keen about how the sole female member of the Pomguard is portrayed as weak and easily-frightened compared to her male peers, especially when there are so few female moogles in the first place

(Not in Moghome) Maenne’s questline (flagged); starts with Unflinching Temple Knight ~ “Into the Mists” (Lvl 56) – a very by-the-numbers look at the work of the dragoon scouting party; basically, you do the entire squad’s work for them. I’d largely skip the story if you do this quest chain (it’s necessary for unlocking the moogle dailies), but the last quest “Laying the First Brick” puts a nice cap on the moogles’ attempts to preserve the ruins in the Churning Mists. Requires flying. Note that the questgiver is posted outside House Fortemps’ manor in Ishgard (X:11.4, Y:11.0)

Twelveswood moogle questline (flagged); starts with House Fortemps Knight ~ “Moogles in the Sky” (Lvl 59) – a story about some Twelveswood moogles who want to visit Moghome. This quest chain is a must-play for anyone interested in moogle lore, as it goes into the cultural differences between the Twelveswood and Moghome residents, as well as their shared ancestral history! But be prepared to spend a lot of time flying all over the Sea of Clouds – it’s to the point where those not interested in moogles may want to give this one a miss. Requires flying. Note that the questgiver is posted outside House Fortemps’ manor in Ishgard (X:11.4, Y:11.0)

Other

(The Monsterie) Mercurial Moogle’s questline; starts with Mercurial Moogle ~ “I Won't Leaf You Behind” (Lvl 55) – a set of three quests about a moogle trying to find herbs to help his sick friend; apart from being heartwarming, it also offers some insight into moogle medicine. Requires flying IIRC. Note that the questgiver is based in the Monsterie (X:34.1, Y:16.0)

(Tharl Oom Khash) Tharl Oom Khash questline; starts with Malingering Moogle ~ “Unwanted Attention” (Lvl 55) – a set of four quests about the moogle research expedition working at the ruins of Tharl Oom Khash (note that the first quest seems very unrelated). There is a lot of flying up and down trying to find the quest objectives, which can be annoying, so I’d mainly recommend this questline to those who are particularly interested in the ruins dotting the region, or in dragon culture. Requires flying. Note that the questgiver is based near Tharl Oom Khash ((X:17.4, Y:11.2)

The Dravanian Hinterlands & Idyllshire

Most of the sidequests in this region actually originate in Idyllshire rather than out in the field, but note that like the Dravanian Hinterlands themselves, the sidequests are unlocked in two phases – first, those that mainly concern the Eastern Hinterlands, and second, those involving the Western Hinterlands. Clearing all the sidequests is not too overwhelming if you do them as they come up (i.e. finish the first set before unlocking the Answering Quarter), but it’s probably quite painful to clear all at once post-Heavensward. Personally, I found that the first set of quests were generally better at fleshing out Idyllshire, but the real stars of the show are the three flagged questlines – two linked ones from Idyllshire, and the one at Matoya’s Cave – definitely focus on these if you can’t be bothered with the rest!

Idyllshire

Slowfix’s questline (flagged); starts with Slowfix ~ “The Pick of the Bunch” (Lvl 58) – about Slowfix’s leaderly struggles in setting up the administrative systems required to run a city; a classic tale of idealism versus practicality. Only this time, the story takes a rather more corporate bent – it’s definitely recommended if you feel strongly about policies and procedures (whether that feeling is positive or negative!). The questgiver is at X:7.0, Y:6.0

Midnight Dew ~ “Community Service” (Lvl 58) – gives a sense of everyday life at and the community of Idyllshire. The questgiver is at X:5.5, Y:6.6

Loudjox ~ “A New Leaf” (Lvl 58) – touches upon what kinds of things goblins trade, including filling for their masks. The questgiver is at X:7.1, Y:7.2

Halfsix ~ “Ebb and Aetherflow” (Lvl 58) – illustrates how recycled Sharlayan technology is crucial to keep Idyllshire running. The questgiver is at X:7.5, Y:6.7

Holepix ~ “The Vangob Job” (Lvl 58) – shows how Sharlayan technology can be reverse-engineered and recycled in less than peaceful ways. The questgiver is at X:7.5, Y:6.7

Notched Bone & Dedean’s questline (flagged); starts with Midnight Dew ~ “The New Arrivals” (Lvl 58) – a thematic continuation of Slowfix’s story, this quest chain explores the ideals behind Idyllshire from a different perspective. It follows two new arrivals who – thanks to bad experiences in Ul’dah – are suspicious of everyone and everything

Other

(Matoya’s Cave) Saro Roggo’s questline (flagged); starts with Saro Roggo ~ “Saro Roggo's Common Life” (Lvl 59) – if you are going to play one quest chain in Heavensward, make it this one. About a self-doubting enchanted frog who fears for his place among Matoya’s familiars, this questline delivers a simple but affecting story, fun (if very simple) riddles to solve instead of the usual “fetch this, kill that” objectives, and gives players a little more insight into the into the excellent Matoya (whose screentime is all too brief!). Flying recommended

Azys Lla

Yes, the final dungeon area has a bunch of sidequests while you wait for the duty to pop (though that’s no longer relevant thanks to NPC support). Unfortunately, said sidequests don’t do much to flesh out the area beyond what you can already learn – or infer – from the MSQ dialogue; there’s only one which might be of interest to lore-lovers. If you’re intent on doing the sidequests regardless, I’d highly recommend progressing with the MSQ first anyway as you’ll unlock all the necessary Aether Currents for flying by doing so.

(Gamma Quadrant) Auditing Node ~ “A Crude Facsimile” (Lvl 59) – touches upon the link between Allag and Garlean technology. The questgiver is based in the Gamma Quadrant (X:29.8, Y:37.6)

[rjzimmerman]

Excerpt from this story from Inside Climate News:

“This is the last turn and the end of the fourth hill of life, when Bad River, as a spirit, transforms into something other, something extraordinary,” Mike Wiggins said as he rounded a final bend in one of the largest and most pristine wetlands on the shores of Lake Superior, one of the biggest freshwater lakes in the world.

It’s “similar to our spiritual journey off this planet into something other and extraordinary.”

From the driver’s seat of his small fishing boat, Wiggins, the former chairman of the Bad River Band of Lake Superior Chippewa, contemplated his surroundings with awe as a bald eagle soared overhead.

Beds of wild rice, a key food source and cultural pillar of the Bad River tribe, danced in his wake, glinting under the afternoon sun and nearly ready for harvest. 

“This is a power place,” he said as he blasted Unbound, a recently released album by musicians including fellow Bad River tribal member Dylan Jennings. “It’s just no place for an oil pipeline.”

It has one, though. Seventy-one years ago, Lakehead Pipeline, a predecessor to Canadian pipeline company Enbridge, commissioned the construction of Line 5, a 30-inch diameter crude oil pipeline that transports up to 540,000 barrels of hydrocarbons per day from Superior, Wisconsin, to Sarnia, Ontario. The 645-mile line is part of a network that originates more than a thousand miles to the northwest in the oil fields of Alberta and, in the case of Line 5, ends back in Canada. It includes a 12-mile stretch that bisects the Bad River reservation, which is heavily forested with river crossings and large swaths of wetlands.

Any spill from the pipeline would drain into the Bad River and Kakagon Sloughs, where Wiggins fished. Known as the “Everglades of the North,” the area is protected under an international environmental agreement as well as multiple treaties between the U.S. and the Chippewa people, also known as the Ojibwe.

The path through the reservation was originally approved by the U.S. Bureau of Indian Affairs. However, more than a dozen easements granted to the pipeline, which was completed in 1953, have since expired.

In 2017, the Bad River tribal council voted unanimously not to renew them. Two years later, the tribe sued to have the pipeline removed from the reservation. The ongoing “David vs. Goliath” legal battle was chronicled in Bad River, a recent documentary.

In 2023, Judge William Conley of the U.S. District Court for the Western District of Wisconsin ruled in favor of the tribe and gave Enbridge three years to stop pumping oil through the reservation. The pipeline company has appealed the ruling.  

[sarahowritesostucky]

Kinktober, day 25:

Blackmail | Teacher x Student | Crying

Rated: Teen

Pairing: Steve Rogers x Bucky Barnes

Tags: flirting, innuendo, age gap, silverfox!Steve

Word Count: 640

Summary: "You know, you're pretty spry. For an older fellow."

A.N.: This was inspired by this fanart, by @pineapplebread

"... You know, you're pretty spry. For an older fellow."

At the sound of Barnes' voice, Steve's mouth quirks up from where he's got his back turned and has just started unwrapping his left hand. He pauses and asks, "You want to go a few rounds?"

There's a pause of consideration, and then, "No."

Steve scoffs, keeps unwrapping. "You scared?"

"Of losing? No," Barnes says. "But I'm just not sure."

Steve arches an eyebrow. "Not sure of what?"

"Of how sore a loser I might wind up bein', to you."

Steve smiles in confusion and turns around, wrapping up the binding. There stands Barnes, looking like the personification of a smarmy, cocksure grin as always. The little asshole's got the nerve to wear a Red Star Dojo tank in here, though it looks damn good on him, as do the grey sweatpants that hug right below his hipbones and show off his thighs and ass just so. Steve gives him an unimpressed look. "I've seen you take your punches, kid. You ain't a sore loser."

Bucky's eyes gleam as he bites his lip and lets it drag back out between his teeth. "I'm twenty-nine, you know."

"Twenty-nine's a kid to me."

"I'm sure it is, Grandpa."

Steve grins, invigorated by the sheer audacity of the kid, as always. But then he tells him honestly, "You're not a sore loser, Buck. You don't go down often, and when you do you're always graceful."

Bucky's grin widens as he folds his arms and leans back against one of the dojo's wooden pillars. "Oh yeah," he purrs. "I always take it real graceful, when I wind up underneath a guy." Both of Steve's eyebrows rise at the kid's innuendo, his level of daring. Bucky shoots him a wink. "That's not what I meant by being a 'sore' loser."

Steve scoffs quietly and looks down. "Oh I see."

"Do you?"

He shakes his head in amusement. This kid. "You're kind of hard to miss."

"I like to think so."

"You know: subtlety's an artform."

"Is it though?"

"Mm. Vastly undervalued in Western cultures."

Bucky's grin turns boyish. "Well that's what I'm here for. To get cultured."

"Is it?" Steve smirks. "I thought you were here to perfect the art of insubordinance."

"That's not a word."

"Beat the crap outa my students."

"I am your student."

"You're my headache," Steve drawls, walking over to where Bucky's leaning against the beam. He gets close, but Bucky doesn't move. He gets very, very close—pointedly close—fully aware of how the kid perks up in anticipation. "Take that shirt off," Steve murmurs. "Now." Bucky's eyes go bright and he bites his lip, looking delighted. Steve's mouth twitches. "Now."

Bucky's quick to obey, pulling the tank top overhead and dropping it to the floor. "Now what?" he breathes eagerly.

Steve leans in, close, lingering centimeters from Barnes' lips for a long, fraught moment. "Now ... Go grab a tank from the merch counter," he whispers. "And don't let me fuckin' see you in here in anything but the Howlies logo, from now on."

Bucky appears to have stopped breathing. His eyes go big and confused, and Steve is so supremely satisfied, he has to fight to keep a straight face. "Go on," he says, straightening up and taking a step back. He ticks his head towards the counter and then turns away all casual-like, smirking where Bucky can't see as he begins to unwrap his other hand.

Behind, Bucky makes a disbelieving sound—like a scoff, but without any breath left in his lungs to put behind it. His bare feet are silent on the tatami, but Steve's ears pick up an quietly huffed, "unbelievable," and when he looks over his shoulder a few seconds later, Barnes is gone.

He sighs and heads for the locker room, shaking his head fondly and murmuring, "Brat."

Please go check out @pineapplebread's page and artwork! That's the whole point of fanart appreciation drabbles💖

Fanart Appreciation drabbles masterpost

[blueiscoool]

First Ever Human Depiction of Lost Tartessos Civilization Uncovered in Spain

Archaeologists representing Spain’s National Research Council (CSIS) excavating at the site of Casas del Turunuelo have uncovered the first human representations of the ancient Tartessos people.

The incredible results of an excavation that shed light on a mysterious and ancient civilization that flourished in southern Spain several centuries before Christ have been presented by Spain’s National Research Council.

The Tartessians, who are thought to have lived in southern Iberia (modern-day Andalusia and Extremadura), are regarded as one of the earliest Western European civilizations, and possibly the first to thrive in the Iberian Peninsula.

In the southwest of Spain’s Iberian Peninsula, the Tartessos culture first appeared in the Late Bronze Age. The culture is distinguished by a blend of local Paleo-Hispanic and Phoenician traits, as well as the use of a now-extinct language known as Tartessian. The Tartessos people were skilled in metallurgy and metal working, creating ornate objects and decorative items.

Archaeologists from Spain’s National Research Council (CSIS) on Tuesday presented the amazing results of excavation at the Casas de Turuuelo dig in Badajoz, in southwest Spain, as well as the results of the excavation.

Five busts, damaged but two of which maintain a great degree of detail, are the first human and facial representations of the Tartessian people that the modern world has ever seen.

The ornate depiction of the stone busts, as well the inclusion of jewellery (hoop earrings) and their particular hairstyles, resemble ancient sculptures from the Middle East and Asia. 

These “extraordinary findings” represent a “profound paradigm shift” in the interpretation of Tartessian culture, excavation leaders Celestino Pérez and Esther Rodríguez said during the press conference.

Given the scarcity of Tartessian archaeological finds thus far, this ancient society is shrouded in mystery.

Tartessos’ port was located at the mouth of the Guadalquivir river in what is now Cádiz, according to historical records. In the fourth century BC, Greek historian Ephorus described it as a prosperous civilization centered on the production and trade of tin, gold, and other metals.

What is unknown is where the Tartessians came from, whether they were an indigenous tribe with Eastern influences or a Phoenician colony that settled beyond the Pillars of Hercules (the Strait of Gibraltar).

The team from Mérida’s Institute of Archaeology believes two of the busts discovered in what is thought to be a shrine or pantheon represent Tartessian goddesses, despite the fact that Tartessian religion was previously thought to be aniconic (opposed to the use of idols or images).

The stone busts’ facial depiction, as well as the inclusion of jewelry (hoop earrings) and their specific hairstyles, resemble ancient sculptures from the Middle East and Asia.

Archaeologists believe that the two goddesses, along with three other sculptures that were significantly more damaged, were part of a stone mural depicting four deities watching over a Tartessian warrior, as one of the defaced busts has a helmet.

The ornate effigies, which are thought to be around 2,500 years old, are also significant for art historians, as Ancient Greece and Etruria (an ancient civilization in modern-day central Italy) was previously recognized as the epicenters of sculpting during this time period.

By Leman Altuntaş.

[atla-confessions]

My question about Zukka is why is it Zuko is almost always portrayed as the feminine one or smaller/daintier than Sokka? That’s one thing that’s so weird about the fandom. In the show he was actually more muscular than Sokka in the first season and there’s nothing particularly feminine about Zuko in general.

Orientalism. The answer you're looking for is Orientalism. And it's not just a problem in the atla fandom with ships like zukka - it's a deeply prevalent part of all fandom, and arguably the broader western culture as a whole.

Asian men are routinely feminized and desexualized in favor of uplifting and maintaining the dominance and desirability of (predominantly white) western men and masculine ideals. Perhaps it isn't something as routinely remarked upon today in younger generations, but it was - and still is - a problem that pervades western media and the broader cultural zeitgeist of Europe and America in particular. In fact, Andrea Smith cites Orientalism as on of the three pillars of white supremacy - alongside anti-blackness and anti-indigenous colonialism - in her paper “Heteropatriarchy and the Three Pillars of White Supremacy,” and yet it's less often discussed; oft forgotten or put to the wayside.

Have you ever heard people talk about how short asian people (and thus, men) are, and how the western standard of being taller is more masculine/manly and desirable (shorter = dainty and often "cute")? How people in the west don't generally like men with long hair, seeing it as largely feminine or deviant, and how that opposes many eastern (re: asian/non-white) cultures that place cultural significance in long hair, even and especially on men? How many asian men are usually of leaner or more slim builds when placed side-by-side with the western standard and preference for large and more heavily muscled men, see in that as more manly? How this falls in line with lean and slender often equating to feminine and weak in the cultural minds of western society? Ever heard western women say that asian men are "too girly" for their taste? Not "masculine" enough? Not to mention the many, many crude jokes and innuendos that float around about how "asian men have small dicks."

Orientalism bay-beeeeee!

Western masculinity is normal and proper; Eastern masculinity is deviant, strange, other. Western men are big and strong and powerful; Eastern men are meek and stooping, cowardly and unassertive - overall, a non-threat in more ways than one. Thus is defined core beliefs of Orientalism. The otherization of Asia and its men, culture, aesthetics, religion, and people to reinforce the western conceptualization and image of itself. Orientalism springs from a fascination with Asia, but is no less racist for it. The fascination is defined as part of the problem, actually.

(note: this isn't even getting into how Orientalism hypersexualizes asian women; that's a whole other tangent!)

All of this is applied to Zuko, consciously or not, by many within western audiences and fan circles; as well as many other asian men in other forms of media and in real life. Why do you think the stereotypical and archatypal "asian nerd" is Like That.

As for Sokka, that's a whole other conversation about the hyper-masculinization and fetishizing of black and brown men and their bodies, the myth of the "native savage," and a whole host of other related topics that I can't fit into this already long ask response (oh hi three pillars of white supremacy! we meet again!).

There's also a whole lot to be discussed about the fetishization on mlm ships and the prevalence of the yaoi seme/uke stereotypes that posits that one half of a gay ship must be dominant and masculine while the other is submissive and feminine (thus seme/uke - top and bottom; active pursuer and passive resistor). How this also ties into Orientalism and racism in addition to everything else is a whoooooole other conversation. Again. But, like, it does.

There are many, many layers to your question anon. Like wow. so many.

But anyway, long essay aside, I hope I've given you and everyone else something to chew on wrt this kind of thing. For further reference, you should read Edward W Said's book (appropriately named), Orientalism. I also highly recommend this 2014 article for a more general and summarized look at what Orientalism is and what it overall entails (https://reappropriate.co/2014/04/what-is-orientalism-and-how-is-it-also-racism/).

X

[lepertamar]

Since it was buried deep in a long esoteric fandom post, i kinda want to extract and expand on this comment as its own post

There is an ancient, global, historical and cultural meme: a ton of christian concepts of Satan, and of Hell, and satanic-ness, is based on antisemitic interpretations of jews. but also, and i mean this in the coolest possible way, as a Jew, much of it also has very strong similarities to real actual Jewish imagery -- in particular, to Jewish G-d.

take the explicit, overwhelming, absolutely ubiquitous association of G-d with fire, to the point where it is the overwhelmingly primary attribute of G-d, and any invocation of fire in the jewish tanakh hints at connotations of....obviously, well, G-d. (To be clear re: hell and fire: the technical likely origin of one of multiple components of the development of hell in metaphors of the new testament is gehenna/gehinnom, a valley outside jerusalem that acquired legends around it, at least a couple of which are fire-associated, but i'm obviously not making a Motive-Origin argument here (that would be for really hardcore archeologists) -- the real point is that in the text it's such a casual and passing set of imagery compared to eg 'the entirety of exodus and leviticus' that the very comparison makes the cultural eliding of this dovetailing/eliding of the 'g-d-as-fire' imagery while holding onto a instant connotation of 'hellfire' imagery pretty head-tilting in its own right). Blood dashing and blood marking, and flesh sacrifice by slaughtering and burning of offerings is religiously jewish, throughout the jewish Tanakh, especially in Exodus. The frightening imagery of fire and brimstone that in the tanakh marks G-d’s presence (in Sodom, at Sinai, at the red sea, in the ark of the covenant) has entered basic western vocabulary in the opposite direction, where this imagery -- imagery that in the sources characterizes all of G-d's and the Jews' presence and religious behavior in Exodus and throughout the rest of the Tanakh -- is casually described as hellish and satanic. Volcanoes' lava fields are 'hellish', fires of natural gases producing pillars of flame and smoke (that led the tribes in the desert and out of egypt in exodus) are 'hellish'. rituals of fire and blood and burning and heavy costumery and ancient crumbling scrolls hidden in arks embossed and engraved with strange tongues (all according to direct unsubverted tradition and commandment) are satanic.

and the devil obv has a characterization echoing judaism’s depiction of jewish G-d: as a challenging and frightening and alluring figure who straddles fae-adjacent borders between tricksterish disruption and extreme legalism, who makes deals and bargains (covenants, even) with humans.

In mainstream christianity it's a distancing game -- a forcible identification of all these recognizable attributes of G-d and judaism with the non-god, christian figure of the devil and the non-godly place of hell; and simultaneously an identification of jewish g-d with christian god (after all these attributes are stripped out), and of christian god with extremely different attributes, or at least opposition to the devil. But not always.

It's found in exactly as many words in foundational early Gnostic theology that had a great amount of influence on the development of early christianity: it explicitly and actively (rather than the implicit coding above that mainstream christian imagery does) identifies Jewish G-d, as in the exact God of the Jews who is depicted in the Torah, as a false god, the archon and demiurge, who should not be, who is responsible for creating the material world as an illusory, fallen, sinful, inherently corrupted world as an intentional prison, rather than an incomplete starting point a la grapes-but-not-wine, and whom Jews evilly or deludedly follow to maintain the existence of this sinful world rather than escaping to the neoplatonic purity of true forms, where the True God, the New Testament god who includes Jesus Christ, rules instead.

It's pretty ~normal as a process goes! (it in fact totally mirrors some stuff in judaism, where we identified various things as treyf because they had connotations of a canaanite pagan thing LMAO. semiotics using ingroups and outgroups in this way is very very common, and normal! and jewish g-d, of course, with Its troubled, complex heart, in many ways originates from israelite religion folding the hearts of many different canaanite gods into one person). but in this case it's maybe unique in scope and subtlety, for contingent historical reasons. mainstream christianity didn't like it, but this exact sort of rearrangement of identification repeats in several sects afterwards (catharism of the albegensian heresy fame being a well known one). mostly because well it's kind of obvious in terms of imagery, personality, and opposition, even if obviously totally dull and bland in terms of which direction is supposed to be the 'correct' or 'godly' one. but as i said, mainstream christianity always suppressed these heresies plenty even though mainstream christianity was obviously also very antisemitic, which is interesting: a case of the sign outstripping the signified to an incredible extent and of mainstream christianity being more invested in the project of backdooring-in identification with the god in question (eg the designation of gnosticism as a heretical sect by christianity, because mainstream christians preferred to recontextualize/repurpose jewish g-d in a supercessionism way, rather than break from It and allow jewish g-d to be defined by/identified with jews, even if in the gnostics’ explicitly evil way).

it does also have a weird and funny? consequence more modernly, among ppl who backlash to christianity with eg [demonic imagery is cool] stuff and don't realize what it looks like to people who have a slightly larger camera aperture: just skipping over the entire existence of judaism in terms of why the hell-stuff exists or is a hell-thing in the first place (there are a few reasons, and this is the big one). like, it DOES feel bizarre when there's like, ppl trying to be edgy and subversive by embracing christian demonicness that [checks notes] is just aesthetics and attitudes that are just very traditional jewish imagery and ritual. yk it just feels a bit....'hm....do they....uh.....know...'. when the old satanists 'inverted' the jesus pentagrammaton with uh, just the sigil of baphomet, as if the hebrew lettering etc is originally christian. like….

as most peopel know, the association of judaism with satanism is both extremely a longstanding Thing in antisemitism, but also smth jews are Super dystonic and jumpy to disclaim for obvious reasons.

now ofc jews's flat statement that this association is just 'fake' is like.....'true', in that while judaism certainly developed in the past 2 millennia with an awareness of christianity and in the same world as a variety of other cultural influences, judaism is obviously not about christianity. as in, it doesn't categorize its elements and framework of the world according to christian elements and frameworks. reversed or otherwise. but 'it's fake' is not like...a complete or interesting answer i guess. (like, it implies all hell aesthetics were totally independent and preexisting and judaism was only associated with it post-hoc); it's also kinda, giving up ground? in the going straight to 'hdu say we're freaks! we r normal!' rather than 'is that supposed to be an insult? this is awesome and also your instinct to categorize us this way is telling and interesting'

this isn't unique, similar reactions happen alot where there's a marginalized culture trying to avoid violence lol, but it's sort of. lame. why not lean into this attempted dunk. the material universe as a delicious as well as incomplete and perilous mass of bursting universeness, whose materiality is what brings about both fortune and misery, brought to material existence by jewish g-d who is scary and bizarre and fiery and has a great deal of weird opinions/ideas about a bunch of detailed specifics about this-worldly life and the this-worldly material of the universe, who makes deals with the particular people who engage with them -- who is a recognizable germinating seed of the surface of christian hell and satanic aesthetics and ideas, is metal and interesting!

and it's not like. idk. a set of frames that are incompatible with christianity either, afaict some traditions lean harder than others, but i'm jewish and obviously not exactly an expert in those aspects of christianity lol.

a friend of mine regarding their conversion to judaism said:

like g-d as a... person, for lack of better terms. g-d who is a bit of an unknown quantity? sort of devilish, smirking at you when They offer a deal and you are not aware of the legalese (or maybe you are! ) and it's just like. this is how g-d is. g-d is just being g-d, g-d is this rascal who is quite particular but also endlessly enamoured with what people will do...

i didnt (& still dont!) care for satan in the christian sense because ....i don't find a god who is unchangign and eternal and sort of... impersonal.... in any way interesting. & thus an anti-god who is.... there and personal but like just to "tempt" you or w/e is also boring in comparison.

but g-d who is playful, who is tempting and trying to seduce you and be seduced, who you can bargain w and get into a contract w which might seem "unfair" in some ways (fucking halakhah right wwww) and like bullshit legalese but it's like....you are agreeing to it! you are taking that on bc you find that worthwhile. like how someone sells t heir soul to the devil, because they think it's worthwhile; but ig in this case you're not rlly getting like, "be able to play the fiddle better than any mortal" type just a... you have the option and you want to take it! that is all far more compelling to me and far more godlike. bc it transforms g-d into an active participant