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@melascath
Controversial opinion apparently but a fucking ad should not have control over my phone's volume or the ability to pause anything else that is playing
you put those tags on this post where they belong
Once you've learned the spot the historical signposts, it's interesting how many "generically medieval" fantasy settings manage to miss the actual medieval period on both ends. They've got the Roman Empire rubbing shoulders with the German Renaissance, skipping directly from the year 500 to the year 1500 with nothing in between!
(The one consistent exception is, of course, the obligatory Vikings-with-the-serial-numbers-filed-off culture, who legitimately are medieval, but nobody they interact with is, so you've effectively got Vikings with time-travelling boats raiding both Roman-occupied England and Renaissance Italy.)
"Oh, they skip the actual middle ages because it's too Christian" listen. If fantasy authors are willing to hold their noses and elide the explicitly Christian dimensions of both the latter Roman Empire and the fucking Reformation, they can deal with Christianity in the middle ages just fine.
@snuggly-eve
Okay, let me try to take a stab at it:
Firstly, one thing I'd want to quickly go over as reference is what it actually means to say that a "stock fantasy setting" is more rooted in the late middle ages/renaissance than in earlier periods. Generally, the traits of these settings that are characteristic of this time are:
Aesthetics generally. Like, castles in a "stock fantasy setting" are usually these big ornamented things covered in towers and turrets (consider, say, Neuschwanstein Castle, which was itself an early modern nostalgia piece rather than a genuine Renaissance fortress), while armor leans more towards full heavy plate (like these 16th-17th century pieces, for instance). These are all classically late styles.
Likewise, your classic fantasy merchant city -- you know, your Ankh-Morporks, your Lankhmars, that sort of thing, with tangled crime-filled alleys, probably a network of scummy canals, a huge bustling port, a guild of thieves, all of it ruled over by dynastic merchants in fine brocade and velvet and heavy jewels -- that's very heavily inspired by the merchant cities of the Italian Renaissance like Venice or Genoa, or North Sea merchant cities like Amsterdam around that time or a little later, or, frankly, even early modern London.
Also, generally, urbanization. Roman civilization was very urban. Renaissance-era European civilization was very urban also, especially in places like Italy, the North Sea, and other areas rich in commerce. In fantasy, too, the notion that cities are major centers of life and politics remains -- merchant cities bustling with commerce, capital cities with the king's fancy castle, fortified cities with huge bloody walls, these are all recurring archetypes. Crack open, say, a D&D setting sourcebook, and that assumption that major cities or city-states are major focuses of culture and economy while rural areas are clearly in their orbits is fairly evident, I think.
Also, in my experience, medieval fantasy monarchies tend to be fairly centralized affairs, with powerful monarchic kings, the royal seat in the capital or the king's castle as the bustling focus of governance, and a tendency for the edicts from the king's person and the intrigues of court to be the driving focuses of political life. Also, a lot of intrigues in a classically corrupt court. This tracks fairly well for the late period, historically, where European kings put a lot of effort into centralizing and strengthening their authority, some more successfully (the Iberian kingdoms at the end of the Reconquista), some less so (Charles I of England). Absolute monarchy was less of a factor in earlier medieval Europe, which operate chiefly under a network of looser, less centralized feudal ties.
By contrast, what would these things equivalents in the earlier Middle Ages be like?
Castle-wise, the really early periods were the time of the motte-and-bailey, aka wooden palisades on top of earthen mounds. Later, you'd tend to see squatter, more fortified constructions for defensive purposes (take the Krak des Chevaliers as an example). Even well into the later middle ages, though, a typical rural keep or castle was often a fortified house or manor more than what we'd picture as a castle today.
Armor was usually dominated by chainmail, scale armor, and non-face-covering helmets (a knight of the Carolongian Empire, for example, might have worn something like a scale or mail shirt and a helm with earguards or a noseguard, but certainly not the "classic" knightly set of plate you usually see in fiction). In terms of helmet styles, for instance, compare this 11th-century nasal helm or these illustrations of 12th-century styles with later forms such as the classic "bucket helm" that was popular during and after the Crusades period. Helmets with more articulated shapes and visors came later. What's called a close or closed helm, for instance, like these ones, was mostly a 16th-17th century style, although antecedent forms were already common in the 15th. Even the barbute with its distinctive T- or Y-shaped visor slit was a distinctly Renaissance Italian thing.
(Like, as a practical example in terms of helmets, this reminded me of a passage in the first Dunk & Egg story where Duncan buys a great helm/bucket helmet, and it's described as coming across as a goofy-looking and antiquated choice when other knights all use visored and often very ornate close helmets. And this makes sense! Westeros is very explicitly based on England during the Wars of the Roses period, in the 15th century, by which point medieval armor and helmet styles had gone out of use and most armored troops wore jointed plate armor and visored helms.)
Religiously, monasteries were often the center of religious life and, for rural communities, often more important than distant bishopric seats. They were also centers of, among other things, record-keeping, writing, and brewing.
Cities. The middle ages proper were a very rural time -- cities existed, and exerted political and economic influence, but took a significant dip in both size and importance for a time. For a good few centuries the center of life for most people was the manorial system, where you had a local knight or lordling living in a fortified house or a small keep and providing protection to a town or two around this in exchange for material support. Self-sustaining religious communities like monasteries were also important. All of these, for a long time, would have basically self-supporting.
(Well, alright, that's also an oversimplification. In rural France-England-Germany, that'd be about right, sure. In northern Italy and in Flanders-Saxony, though, you start to see... not urbanization as such, but, let's say, townization early on in the system of the medieval communes, where farming and trading towns left isolated by the collapse of Roman-era state systems formed confederations for mutual defense. So the main form of urban culture in this timeframe isn't really centralized around a single big city but more along the lines of fifty towns who formed a loose alliance because they're afraid of bandits and robber knights.)
Government. Centralized states and nations weren't... really things for a long time. Feudal governance was based much more strictly on the notion of personal debts and obligation between rulers and those who administered portions of land for them. A feudal noble had obligations towards his king, but he also had a tremendous amount of freedom in running his own affairs and could have gone for the majority of his life without every showing up in the vicinity of his lord's castle -- the idea of, like, the royal court as the focus and center of political life wouldn't really crystallize for some time, and this degree of independence meant that negotiation and re-negotiation (read:testing how much you could ignore the king or going into outright revolt) were very common.
Also, the notion of national identity -- of saying "I am French, I am English, I am Italian" -- also didn't really exist (I'd recommend Liah Greenfield's Nationalism: Five Roads to Modernity for a discussion of how this mode of thinking about group-and-land identity formed in the 16th-17th centuries). Before then, concepts of identity were either strictly local ("I am from this village"), based on loyalty systems ("I am from a village defended by Knight Whatshisname, who gives his tithe to Lord Whatshisface, who gives his tithe to King Whatshisproblem"), or based on religion ("I am Christian", "I am Jewish", "I am Muslim").
So, broadly, there weren't really "countries" the way that we think of them today, with clearly delineated cultures and borders and directed from a central capital. The most granular political units were the rural manorial keep and the free town, which gave their fealty to a larger lord or a grouping of peers, and the span and size of a kingdom or an empire was determined in large part by how many of these tiny units or groupings of tiny units you could claim tithe-right and allegiance from. And that's feudalism!
Event-wise, the Big Things in the medieval period proper were the Crusades, a series of primarily religion-motivated wars (or, well, religion-land-and-luchre-motivated wars, granted) and the Black Death. It really cannot be overemphasized how the terror of being struck by this mysterious dying dominated medieval thought for large spans of time.
One book I read recently which I'd recommend for a having a good look at how medieval people thought and lived might be Michael Flynn's Eifelheim... with the caveat that it's also a science fiction novel about first contact with aliens, but the medieval side of things is really well-researched and -written.
5001 being divisible by 3 doesnt feel right
Shortcuts to determine if an integer is divisible by:
This is a given.
If the last digit is divisible by 2 (a.k.a. even), then so is the whole number.
If the sum of the digits is divisible by 3, then so is the whole number. The recursivity of this means that if the sum has multiple digits, you can add them up again until you get a single digit and see if it's 3, 6, or 9.
Like the rule for 2, but check if the last two digits are divisible by 4.
If it ends in 5 or 0.
If the rules for both 2 and 3 apply.
No shortcut. Alas.
Like the rules for 2 and 4, but check if the last three digits are divisible by 8. (Yes, this pattern keeps going for 16, 32, etc.)
Like the rule for 3, but the sum of the digits (or the sum of the sum of the digits, etc.) must be 9.
If it ends in 0.
#THIS POST IS WRONG 7 DOES HAVE A RULE FOR HOW TO TELL IF THE NUMBER IS DIVISIBLE#it's just. not a short cut#you're better off dividing it and seeing if you get a whole number than doing the method
but what IS the rule @anqelbean ???
Okay, so, basically, you remove the least important digit of the number (which is the first digit from the right), you double it, and then subtract it from the remaining number. If the number you get is still large, you do it again.
For example, 294
29 4
4×2=8
29-8=21
21 is divisible by 7
Second example, 1946
194 6
6×2=12
194-12=182
182 is still large, so let do it again
18 2
2×2=4
18-4=14
14 is divisible by 7
what they don't tell you about hadestown is that orpheus and eurydice are not the main characters. neither are persephone and hades. or hermes. or the fates. the main character is whoever in the band is playing the trombone because holy fuck
Something neuroscience-y that helps with prose: attention is selective. A character will not notice everything in a room. They will notice what matters to their goal, fear, desire, training, wound, or obsession. A jealous character notices hands. a hungry character notices food. A soldier notices exits. A lonely character notices pairs. Description becomes character when attention has a bias.
From the Nashville Zoo’s fb page! Here’s the petition, please please please take a moment to add your name (even if you’re not from Nashville!). If you are from Tennessee, contact your representatives and make it clear that the people do not want this data center. This is an AZA accredited zoo which is home to several species of critically endangered animals, we NEED to protect it. Make your voice heard!
Because people will pay attention to cute animals, here are some of the critically endangered/endangered species housed at the Nashville Zoo!
The Amur Leopard and Clouded Leopard (which recently celebrated its 50th cub born at the zoo!)
The Sumatran Tiger
The Red Ruffed Lemur and Ring-Tailed Lemur
The Cotton-Top Tamarin and White-Cheeked Gibbon
The Colobus Monkey and De Brazza’s Monkey
And the Mexican Spider Monkey!
Look at them!!!! Look at them and fight like hell to save them!!!!
Data centers have been recorded creating constant noise at a frequency outside the human range of hearing but which still causes severe issues. This could be even worse with animals that have more sensitive hearing than humans do.
We don't need to wait years to find out these things cause real harm to the communities near them, we have proof already.
This is my local-ish zoo. Please sign the petition if you can (and call your state reps if you're a Tennessean).
HANNAH WADDINGHAM as JUDITH 'WHIPTAIL' BURTON in RIDE OR DIE (2026)
"I learned a lot from making this" is artist talk for "making this sucked ass and I'm not entirely happy with the result."
"I learned a lot from this experience, please do not make me do it again."
one of the things the atla universe writers can never do properly is write about the entire bender vs non bender situation lol. they consistently have plots where non-benders want recognition and justice because they feel like they're being mistreated by the benders, and the writers always make them out to be the villain. i still think in the original show they dealt with this topic fairly well, but the legend of korra and the movie is where it really just falls flat in the face. both the movie and tlok constantly sideline and neglect their non-bending characters, or just not have any (except the ONE token non-bender!), and then try to act like the in canon non-benders are stupid for saying they're being mistreated. like you are LITERALLY proving their point !!!!!!!! for example, the movie essentially making sokka entirely useless (except giving him a flying bicycle for one hype aura moment which inevitably leads nowhere), and then erasing almost ENTIRETY of it's other non-bending cast, just makes me think, hey maybe the denied have a point actually. i understand that it's a movie and they can't bring in every single side character, but was suki not a part of the main gang by the end of the show? was sokka not a leader, a strategist and eventually a politician? why couldn't we hear sokka's thoughts on the denied? i understand that the denied are violent and have disruptive ways of being seen and heard, but isn't their core principle right? are the non-benders not treated worse?
this isn't even a new point that was first mentioned in tlok. you see it in the original show. except they never spell it out for you. you see it in the way sokka feels about himself, you see it in the way toph initially treats sokka and assumes he's useless because he can't bend. the boiling rock episodes aren't just fun, but they're such good examples of sokka, suki and hakoda, (and mai and ty lee!!!!) who are all non-benders, doing most of the heavy lifting to get them out. sokka with his brain, suki with her fearlessness and dedication to her art, and hakoda with his strength. the atla universe always comes so close to addressing this issue with maturity and dignity and then just backtracks when it realises it can't give it too much time because it isn't as cool as bending. it just makes me angry.
everyone (including james holden) is fully aware that james holden failed his way into being the main character of the galaxy.
and absolutely no one (including james holden) is happy about it.
I have done some weird trickshots, and some difficult trickshots, but that last one is the most of both I’ve ever put together!
the new euro banknote designs with the birds are sooo pretty... I hope the birdies win
I would like to get paid in birds...
You can vote for one of the bird designs here: Go Vote!!!
ATLA, the show, Korra included, had consultants for a variety of aspects of the writing and production process.
They had historical consultants for the show's technology and real-world allusions, such as figuring out how the Fire Nation's trebuchets would work.
A cultural consultant who was an actual professor in the field.
A blind consultant to advise on how Toph would behave or move.
Consultants for martial arts, including martial artists, stunt coordinators, etc.
It's unspeakable how insulting in comparison that "According to CHATGPT" part of the panel is.
Just the sheer fact that they chose to write that instead of, IDK, citing the sources the LLM inventedlisted? That they felt comfortable writing that?
That's even ignoring them yapping about how they are shying away from real-world allusions and creating their own language and removing all those real-world references that grounded the setting.
Or using freaking Eren Yeager as an example/inspiration.
Something I genuinely wish was explored more in the ATLA universe/fandom is how Katara is the last waterbender of the Southern Tribe. Like, I understand why it's not spoken about as much as Aang being the last airbender, because he is simply the only airbender left. But Katara is the last link in her entire tribes history of bending.
Sure, the Northern Tribe might have benders, but they have such a different culture/identity around bending compared to the South. We see in Hama's flashbacks that the Southern Tribe had male and female benders at the helm, fighting equally, learning the same things, sharing the same tactics. They weren't left behind as strictly healers or defenseless women given a man's gift, they were strong.
And the thing that separates Katara and Aang's stories being the last benders of their nations is that Aang remembers what it means to be an Air Nomad. There are obviously blind spots because of how young he was, but Aang knows the customs and the culture and spiritual practices. He was able to pass those down to Tenzin and his grandchildren, he was able to start the process of rebuilding what was lost.
But Katara? She was even younger than Aang was when the Southern waterbenders were eradicated. There are Southern practices that are most definetly just... a fractured part of history because she never got to experience them. There are ways of hunting, of building, of navigating the waters, ways of healing, probably even spiritbending, that are simply lost to time.
And maybe her grandmother can clue her into it, memories from a nonbender living aside benders, but it's not the same. She didn't get to hear it from the waterbenders, she didn't get to learn from a Southern waterbender, she doesn't even know what to rebuild because it was never something she was versed in.
That's why The Puppet Master is such a heartbreaking episode. Because Hama could have been the Southern teacher Katara clearly wanted, she could have shown her more, but ended up passing on her legacy of Bloodbending. And on the inverse, I can't even fully call Hama a villain for wanting Katara to know how to bloodbend, because the ache of thinking you were the only one left for so long, the rage against a Nation known for destroying nations, would've driven anyone insane.
We know that Tenzin felt an intense pressure to keep rebuilding Air Nomad culture, but I'm so convinced that Kya probably felt something similar with Southern waterbending.
Just watched the Brooklyn 99 episode "Blue Flu" and, WOW, Americans hate unions. :/ The entire premise of the episode was "unions are evil and manipulative and we must stop them" and that was taken as a basis for comedy rather than breath-takingly bigoted and uncomfortable. Extremely unfunny. What the hell? That episode would never have got made in the UK.