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jsml-universe · 6 years

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The Story of Xanxus

After re-watching episodes 64 and 65, my opinion of the Ninth has dropped. Significantly. Good job Timoteo. A+ parenting right there. I dislike you more than Iemitsu right now. I hope your recovery is long and hard.

There are just some things that don’t quite add up in the Varia arc so I did some digging and paid closer attention to the in between pieces of dialogue throughout the anime and manga. After lots of pondering, I’ve decided that this is basically how the REAL story behind how the battle against the Varia came to be...

Xanxus is a young child. He was born in and grows up in one of the poorest slums in Italy. His primary caretaker and only family member is a single mother who is so mentally ill that she’s delusional. Literally. Sane people have difficulty in poverty enough as it is. Can you just imagine the kind of damage that background alone can have on a person’s psych?

Xanxus was born with the orb flame/flame of wrath, but he didn’t manifest it until he was an older kid. When he shows his mother, she’s convinced that she had a love affair with the boss of the Vongola and that Xanxus is their child. Like, WTF?! She renames her kid (because his first name might not have even been Xanxus with the whole ‘I named him Xanxus because the two X’s prove he’s meant to be Vongola Decimo’ logic) and then just gives him away to an old man, a stranger she claims is his father.

Then what does Timoteo do? He lies. He backs the poor delusional woman’s logic up. Big Mistake #1. He tells Xanxus not only that he's his biological son but lets him think that he can one day succeed him as the Vongola boss. Where is the logic in that? Answer: It must have been for manipulative purposes because there is absolutely NO purely charitable reason why you must adopt a random child on the street that just happens to be endowed with a very powerful flame and fool him into believing a lie about his lineage so that he'll dedicate his life to Vongola.

At this point, Timoteo could have rectified his mistake and taken Xanxus aside as soon as he’s adopted into the Vongola famiglia and explained the true situation to him. Sure, it would have hurt Xanxus a little but Xanxus is very mold-able and impressionable at this age. I can only assume that Xanxus must have been about 9 or 10 years old when he was adopted by the Ninth because Fuuta is also 9 and child Xanxus certainly didn't look younger than Fuuta.

When telling Xanxus’ backstory, Squalo immediately jumps to Xanxus’ time growing up in Vongola and says that he took to the mafia like slipping a hand in a well-fit glove. He was selfish, ruthless, easily angered, and powerful. I’d say, that’s only logical. Growing up in extreme poverty means being in a constant ‘survival-mode’ and ‘got to take care of myself’ state of mind. Food, shelter, and safety means being creative and assertive. I think it’s safe to assume that Xanxus had little to no education while growing up. If he did receive any, it was definitely sub-par. He was thrust into a foreign culture and had to adapt quickly. He had to change the way he talked, his body language, learn social etiquette, master his flame powers. His mother is no longer mentioned so I assume that he never had contact with her again. Despite his willingness to leave his mother, I’d think that, that would also have some impact on his psych as well. A significant adult figure in his life had just left him. She was completely cut out of his life as quick as the snap of his fingers. With the additional lack of a biological father, I’d say that this qualifies Xanxus for psychological issues regarding child abandonment (which is defined by the loss of one or more parent).

Problems that arise from kids who’ve experienced this include:

-low self-esteem

-anxiety and/or anger management issues

-problems regarding attachment...either difficulties forming attachment, or over attaching oneself with fear of being abandoned again

Now, on first glance, Xanxus doesn’t appear to exhibit any of these symptoms with exception to the anger problems. I respectfully disagree.

Xanxus fully embraced his adopted family. He’s busied himself with making himself useful and important in the family. He quickly established his place in the mafia and made every point he could to loudly declare that he was the Ninth’s son, as if needing to constantly reaffirm to everyone and also to himself that he belongs.

He has approximately 7 years to not only catch up but surpass his brothers and peers in education, fighting skills, and leadership skills. That kind of jump only happens through diligence and hard work, no matter how much talent one has. And speaking of talent, Xanxus is a genius. He really puts all of his skills, talents, and energy into helping the famiglia who raised him and saved him from the "trash" of society. Xanxus was raised, having an unhealthy and incomplete understanding of people’s “worth.” His idea is that a person is “worth” more based on social status and achievement. Being the “bastard son of the Ninth” was okay for him because he worked to prove himself as the best of the best and he believed he had the right to the “throne of Vongola” so to speak.

So, now we’ve got a checklist:

-Grew up in slums

-Raised in the mafia...the world of crime...and participates in the darker side of it too (ex: assassinations)

-No trustworthy adults in life...absent biological father, crazy and unreliable mother, mafia boss adopted father who also happened to tell some pretty major lies

-Has abandonment issues

...Yeah, you can bet that Xanxus has serious difficulty in trust and dealing with betrayal. So when he finds out that the truth, how does he react?

Exactly as expected. Everything has crumbled. His entire worldview shattered. He believes he’s worth nothing, that he’s back to being trash again. And his “father.” whom he trusted, lied about his identity, past, and future plans.

Xanxus's anger here is completely understandable. Now a coup? Going a bit overboard for most normal people. The Vongola and especially Xanxus are NOT normal people. If you look at it from the perspective of a 16-year-old teen with a rough past and massive anger management and fear of abandonment issues who's just been betrayed by his "father" and lied to about his place in the mafia family who raised him...yeah. Coup doesn't sound so far fetched after all.

Then when he finally confronts the Ninth face to face, his so-called father tells him that he's going to kill him for his rebellion. Xanxus’ isn’t surprised, angry, or dismayed by that statement at all. Timoteo has just validated how Xanxus perceives the Ninth views him: not as a real son but as a tool to be used and manipulated because he has a powerful flame and then disposed of when the cost of keeping him around is too high. Then the Ninth freezes him in ice for 8 years. Timoteo likes to tell everyone that Xanxus was just "asleep" for eight years. Are you kidding me?! Your "sleeping" technique damaged your adopted son so much it left permanent scars covering his entire body. You think that didn't hurt like hell? Tsuna encased him in ice for only a few minutes and when the ice melted, Xanxus collapsed to the ground. His strength was so gone that his Varia guardians had to physically put the ring on his finger. All this after only a few minutes in that Zero Point Breakthrough technique and this hasn't even touched on the psychological damage that Xanxus has been through. I’m pretty sure that seeing Tsuna's Zero Point Breakthrough technique, so soon after he was JUST freed, was really traumatizing for Xanxus. It was the technique that got him infuriated and lashing out at the teen when both were already exhausted from fighting.

Think the story can’t get much worse? Think again. After 8 years of being frozen and locked away in the dark basement, the ice is melted and Xanxus is released. There’s ongoing debate between fans about Xanxus’ age. Was he 16 or 24 when he was frozen? I’m going with 16. Yes, I know that Squalo says that he “grew into adulthood” but this is the same story where Tsuna and his guardians call a 15-year-old Lambo, Adult Lambo, too. The term “adult” is rather loosely applied in the KHR universe.

Moving on! This is the part where I got ticked off because I made some additional connections. Mammon says there were 7 dark spots in a circle and that he/she had no idea who actually released Xanxus. The first time watching this series through, I wasn't really paying attention and thought that the Varia members had stolen the rings and freed their boss. Turns out that's not the case. It's even worse. It's never explicitly revealed in the anime and manga who released Xanxus but my bet is that it was the Ninth. As the current boss of the Vongola, it's only safe to assume that he and his guardians inherited the complete Vongola rings from their predecessors and therefore he'd still have the full set. Plus, he knows all about the Zero Point Breakthrough technique so it's also safe to assume that he's the only one who knows how to counter it. So now we have the Ninth melting the ice after nearly a decade and what do you know? He tells Xanxus that he needs to do something to redeem himself. He needs to reunite with his Varia officers and go to Japan to challenge the REAL Decimo canidate. They can't kill them and they can't be too harsh on them because otherwise the battles will end before they can get to the Sky ring battle, which is the most important one that MUST happen for it all to work. Come on, you don't really think that the Varia DIDN'T hold back on their strength when fighting some talented but newbie civilian teenagers? Xanxus, probably still mentally a teenager, having been freed from an ice prison, and desperate at a chance for one last shot to become Decimo, accepts the deal. Unbeknownst to Xanxus, there was never a chance for him. Timoteo sets this whole rings battle up knowing exactly how it's going to end. He knowingly created the battles knowing that the outcome would be his adopted son, collapsed on the ground with more scars and spewing blood from his mouth and nose whilst Tsuna and the rest of his guardians would be exhausted and on the brink of death. After the battle and it's clear that Xanxus has no chance at being Vongola Decimo because the ring rejects him, he gives up the rights and the Cervello have a private conversation with Xanxus lying on the ground in defeat. The Cervello the sole supervisors of the entire battles...from an Agency which serves only directly under the Ninth! It's a really brief scene but this interaction with the Cervello had always puzzled me previously. With the light that the Ninth is the one who freed Xanxus and set up this whole Varia battle fight to manipulate Xanxus into thinking he might still have one last chance at leadership and creating a driving force to make Tsuna to accept his role as the future Decimo, this makes so much more sense: Xanxus: It's...gone...according to...your wishes...you were...right...are you...happy now? Cervello: You say that, but...we do not have wishes nor do we predict anything. Everything was already decided. Your role in this is over. Xanxus: ... ...that cunning old man... Cervello: Thank you for doing your part. With this, the ring contest battle has now ended. And to think that the Ninth had the gall to play the victim here. And you know what's sad? He does actually see himself as the one who is burdened with heavy choices that must be made for the "good of the family." Timoteo, I hate your guts, you manipulative old coot. Go retire already!

#xanxus #character analysis #behind the cradle affair #khr #katekyo hitman reborn #timoteo #cervello #zero point breakthrough: first edition #psychology #the real story

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amyadamsnews · 6 years

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Amy Adams on equal pay, family life and her grittiest role to date

In a corner of the genteel lounge of Los Angeles’s iconic Chateau Marmont, Amy Adams is launching into the opening lines of the Abba classic The Winner Takes It All – and it’s pitch-perfect. With other Hollywood actors, this tuneful showcase of talent, five minutes into an interview, might come across as showing off.

But the star of American Hustle, Nocturnal Animals and Arrival – a five-time Academy Award nominee and the recipient of two Golden Globes – seems atypically unstarry. Our conversation has simply prompted a demo of one of her great passions: karaoke.

Fresh-faced and freckled, today, the 43-year-old is dressed casually in jeans and a peach blouse, her red hair pulled into a loose ponytail. In spite of her success on the big screen, you might not recognise her if she strolled past you on the street.

She’s one of the most in-demand actors in Hollywood, skilled at switching between roles – from wide-eyed and vulnerable in Junebug, which launched her leading-lady career, through tough-talking and trashy in The Fighter, to religious fanatic in The Master and – most memorably – sexy, seductive con artist in American Hustle.

Amy’s latest part looks set to make her more immediately familiar, however. Next month, she stars in HBO’s hotly anticipated new mini-series Sharp Objects, an adaptation of the novel by Gillian Flynn, author of the bestselling thriller Gone Girl. ‘I’ve been attracted to Gillian’s work for years, because she creates these incredible, flawed females,’ she says.

Directed by Jean-Marc Vallée (who also directed last year’s critically acclaimed TV hit Big Little Lies), Sharp Objects is set in small-town Missouri, where restraint, manners and strong cocktails mask brutal violence and deep dysfunction.

Amy plays what is easily her darkest, most damaged character to date: Camille Preaker, the acerbic, alcoholic, self-harming protagonist. Recently released from a psychiatric unit, Camille, a reporter, is dispatched to Wind Gap, the town in which she grew up, to investigate the murder of two pre-teen girls.

It quickly becomes clear that the intense pain that affects her also infests the other women in her family – her uptight, neurotic mother, Adora (Patricia Clarkson) and her manipulative younger half-sister, Amma (star-in-the-making Eliza Scanlen).

As is becoming increasingly common among Hollywood’s leading ladies, Amy was also an executive producer on the series. It was she who suggested French-Canadian director Vallée. ‘There’s something about the way he tells women’s pain: he circles around it, yet gets to the heart of it,’ she says.

‘He’s not afraid to approach the violence in a way that’s also very emotional.’ For his part, Vallée praises Amy’s bravery in taking on bleak themes. ‘It was scary material, and she was so courageous to tackle this, to be so naked – literally and metaphorically,’ he says.

To help her dig into the darkness, Gillian Flynn recommended she read A Bright Red Scream. ‘It’s first-person accounts by people who self-harm,’ explains Amy, who had to wear prosthetic scars from the neck down during filming. She admits it wasn’t easy to leave Camille behind at the end of each day. ‘I’ve trained myself not to bring a character home, but there were times – whether from living in her head space or just exhaustion – when I suffered insomnia.’

The role also required her to research the psychological condition Munchausen syndrome by proxy, which causes a parent to harm their son or daughter to create the illusion that the child is ill. ‘I did a lot of reading about that too,’ says Amy. ‘It’s so against every parental instinct I have, so I just can’t imagine it. Our daughter [seven-year-old Aviana] has been hurt twice in a way that required trips to the hospital and that’s not something I’d ever want to revisit – it was traumatising.’

Happily, both Amy’s disposition – upbeat, energetic and quick to laugh – and her family life would appear to be a far cry from Camille’s. She and her husband, Darren Le Gallo, met in 2001, at an acting class in Los Angeles, and today live in the city’s glamorous Hollywood Hills. She describes their life as ‘quiet’, save for the odd karaoke night out, or in – the family’s portable karaoke machine even accompanies them on holiday.

When Amy travels for work, her husband and daughter generally go with her. ‘If I’m on my own, I engage in not-great behaviours, like hotel-room eating – sitting in bed every night with a bag of crisps and salsa and a beer,’ she admits.

The middle child of seven, Amy was born on a military base in Vicenza, Italy, where her father was stationed at the time. Her parents were Mormons and, although their adherence to the faith was ‘more cultural’ than overtly religious, ‘church played an important part in our social interactions’, she has said. ‘It instilled in me a value system I still hold true.’

The family eventually settled in Castle Rock, Colorado, when Amy was eight, where her father, having left the army, began singing professionally in nightclubs and restaurants. The rest of her family was more sport-orientated. ‘I was surrounded by these incredibly coordinated siblings who excelled at everything, whereas I just liked to read in my room,’ she laughs.

Her parents divorced when she was 11, and left Mormonism. Her mother, Kathryn, a former gymnast, was also, for a while, an amateur bodybuilder. ‘We have a good relationship, but my mom is tough and always challenged me to push myself,’ says Amy. ‘I wasn’t allowed to be afraid of things, even though I’m naturally very risk-averse. For instance, if a guy pulled up on a motorcycle, I’d be like [adopts goody-goody voice], “Don’t you understand that those are just coffins on wheels?”’

When her mother would take her to her gymnastics class, she goes on, ‘She would say: “We’re not leaving until you do this really tricky move.” That taught me to do things I was afraid of, because the sense of pride in having done something difficult was always worth it.’ It’s a skill that appears to have served her well in her career.

‘I had a kind of autonomy from childhood on,’ she continues. ‘There were so many of us that I knew my parents weren’t going to be funding my life, meaning my choices were my own and I wasn’t worried about what they thought of them.’

She gave up gymnastics, focused instead on dance and trained at a local ballet school. At 18, however, she decided she wasn’t good enough and switched her focus to musical theatre. She worked in dinner theatre for a few years before scoring a chance to audition for Drop Dead Gorgeous, the 1999 beauty-pageant comedy starring Kirstie Alley and Kirsten Dunst, in which Amy played a promiscuous cheerleader.

With Alley’s encouragement, at 24, Amy moved to Los Angeles, where her first few years attempting to break into the industry weren’t easy. ‘I auditioned a lot, but couldn’t figure out why it wasn’t working,’ she has said. ‘The problem was a lack of confidence and self-esteem,’ she tells me today.

In 2004, she was cast as the lead in the CBS series Dr Vegas, alongside Rob Lowe, but the show was dropped after just a few episodes. At that point, she considered quitting the industry.

‘I began thinking I should do something that was more secure,’ she says. ‘I wasn’t willing to be as unhappy as I was in danger of becoming and I didn’t like what it was turning me into.’

Then her fortunes began to turn around. In 2005, she was cast as the lead, Ashley, in the indie comedy Junebug. Her portrayal of the garrulous pregnant woman won her the Special Jury Prize at the Sundance Film Festival, and two years later, scored her the part of Giselle, the optimistic princess, in Enchanted.

Achieving success at 31, rather than 21, has its advantages, she now believes. ‘At least I was able to enjoy my 20s before anyone was paying me too much attention,’ she sighs, nostalgically. ‘No Instagram, no Twitter, no Facebook – thank God! I had a bad habit of taking photos on disposable cameras that didn’t belong to me. I have no idea how many complete strangers’ cameras I mooned into back then!’ she laughs.

Since the downfall of Harvey Weinstein and the rise of the #MeToo movement, are there incidents from early in her career that she feels she wouldn’t be OK with now?

‘Yes, and I wasn’t OK with it back then either,’ she says. ‘I had to audition in a bikini. I didn’t get the role, because the character would be filmed wearing one and I don’t look good in swimwear.’

I scoff at this claim. ‘I really don’t,’ she insists. ‘And that’s OK – that’s not why I was put on this earth. But I don’t know a single woman, working in any industry, who doesn’t have a story like that, about feeling vulnerable.’

I wonder whether, beneath her sanguine exterior, some of the self-esteem issues she mentioned earlier still lurk. Despite being petite, Amy is surprisingly self-deprecating about her body.

‘I always look pregnant in photos,’ she claims with a laugh. ‘I wear loose dresses because I have a paunch. It’s not a big paunch, but it’s there!’ And she’s less than comfortable being snapped on the red carpet. ‘I understand it’s part of the job, but it’s not my favourite place,’ she has said.

‘I love fashion, but having to be somebody who promotes that industry has always been a tricky one for me, because of the way it affects women’s sense of self,’ she says. ‘I’ve lectured several designers about their sizing. If a dress in my size is five inches too small for me, what’s happening?’

Even before the #MeToo and Time’s Up movements began, Amy was catapulted into the centre of rows about sexism within the industry. When thousands of email accounts at Sony were hacked in 2014, the revelations about American Hustle focused mainly on the fact that Amy and her co-star Jennifer Lawrence were paid less than their male counterparts, Bradley Cooper and Christian Bale.

At the time, she chose not to comment. ‘Everyone wanted me to talk about how I felt about it, but I want to fight for people outside our industry, so to come out and look ungrateful about what I’m paid as an actress just didn’t feel right,’ she says today.

‘I do believe in equal pay, but let’s start with our teachers. Let’s get waiters paid the minimum wage. That’s what’s great about what’s happening with Time’s Up – we’re starting to have bigger conversations than just about what’s happening in Hollywood.’

Other emails were also leaked, alleging that the film’s director, David O Russell, was so tough on Amy that Bale stepped in to address the problem. ‘He was hard on me, that’s for sure. It was a lot,’ Amy later said, and she has admitted in interviews that she cried ‘most days’ during the making of the film. ‘I remember saying to my husband, “If I can’t figure this out, I can’t work any more. I’ll just have to do something else. I don’t want to be that person, not for my daughter,”’ she has said.

When she talks about coping during the making of Sharp Objects, it’s clear that she was determined for it to be a very different experience. ‘I’m now able to think, “OK, I know what’s going on here. I just need to go to work, do my job, then come home, make dinner and do something grounding.”’

She was recently reunited with Bale for the upcoming biopic Backseat, about former US vice-president Dick Cheney. She whips out her phone to show me an image of her in character as his wife, Lynne, alongside Bale, who played Cheney, and both are virtually unrecognisable thanks to extensive prosthetics.

The lengthy process of transformation renewed her respect for her co-star. ‘I had to wear the prosthetics for only two weeks, but Christian was coming in at 2am every day to have his applied before the day’s filming started. His work ethic is just incredible.’

Amy is keen to do more producing, too. ‘There’s lots in pencil on the calendar, but I don’t talk about anything until it’s in pen,’ she says. Risk-averse to the end. And with that, she gives me her top karaoke-bar tips and slips back to her quiet life in the hills.

https://www.telegraph.co.uk/women/life/amy-adams-equal-pay-family-life-grittiest-role-date/#comments

#amy adams #telegraph #sharp objects #hbo #gillian flynn #jean marc vallee #cheney #christian bale

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kyeugh · 5 years

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wbh #5: What sorts of civilizations and architecture fill your world?

going to use some photos that i did not create below, to approximate krallic architecture. credit is provided.

the lowlands

Photo Credit: http://www.markfisherauthor.com/2017/01/ancient-celtic-centers-hill-tara/

whether lowlander society can accurately be described as “civilization” is somewhat contentious. giants self-assemble into hierarchical groups called clans under a single (usually) male leader, called the chief. the chiefdom of a clan passes hands somewhat regularly, as the sitting chief can be disposed of in fair combat. that is to say, any giant who defeats their chief in combat replaces them. this means lowlander society holds physical capability in the highest esteem, and typically chiefs are not able to hold their office into old age or frailty.

the chief has his pick of the clan’s females, and usually maintains a harem of about half a dozen. subservient males may pledge their allegiance to a more powerful leader in order to guarantee their safety. sometimes children reared within a clan will leave home to found their own clans upon adulthood— in particular, physically powerful giants who are nonetheless not powerful enough to surpass the sitting chief are likely to form their own fringe clans.

contrary to derrish stereotypes about lowlander barbarism, the giants are actually relatively accomplished functional architects and builders. their houses, characterized by stone or adobe bodies and large, sloping thatched roofs, are well-constructed and sturdy, as well as impressively large to accommodate the giants’ large size. older and more developed lowlander villages demonstrate advanced knowledge of the arch and dome, and some villages have even been shown to construct advanced mechanisms such as aqueducts and elevators.

deren

Photo Credit: https://commons.wikimedia.org/wiki/User:-donald-

deren civilization is perhaps the most organized by conventional criteria. once upon a time, the kingdom was highly centralized and classically feudal, with its lords serving more as extensions of the powerful royal authority than nobility in their own right. however, the lax reign of king albrecht has weakened the power of the crown, and enabled the lords of deren to consolidate their power and grow into formidable patricians in their own right. the lords administer a realm filled with both highborn and lowborn derrish citizens, with marshlanders at the bottom of the social ladder, usually filling menial or servile roles. there are technically no marshland slaves in deren, though some marshlanders come close in execution.

derrish architecture is straight, sturdy, stony, and stark, old and germanic in character. white stone quarried from the mountains rise as round towers and tall spires. often, the keeps and castles of the lords are separated from the rest of the town on naturally treacherous and impassable peaks, as pictured above. of course ordinary houses as one might find in a village are less ornate, typically taking the form of small, squad homes supported by visible wooden beams with gradual sloping roofs. it is not uncommon for a municipality to be surrounded entirely by a wall, though this trend is falling out of use as the fortifications are rarely necessary.

marshlanders

Photo credit: https://fineartamerica.com/featured/florida-native-americans-village-1591-granger.html

marshlander society is broadly peaceful, due in no small part to the vast tracts of land available to the relatively small population. they live mostly pastoral lives centered around fishing, rudimentary agriculture and harvesting, and craftsmanship. in fact, marshlander wicker is renowned throughout kralle. generally marshlander villages are headed by an informal hereditary chief who holds little actual power— the title of chief actually switches hands somewhat frequently as needed despite being technically hereditary. there is not a well-defined concept of economy or class in marshlander society, though derrish impositions have begun changing marshlander norms and culture in recent years. conflict is not unheard of in the marshlands, however. village borders are poorly defined and skirmishes may take place over coveted fishing spots. theft and civil issues are not uncommon. the marshlanders are a superstitious people, and magical practitioners as well as shamans are present in most communities.

marshlander architecture is lightweight and built mostly from flexible wood from swamp trees. a village’s residential area is typically walled so as to provide at least a small level of defense against the large predators of the marshes, particularly the spinosaurian swamp drakes.

sifa

walker caravans are headed by religious leaders, who are instructed through childhood by their predecessors in the ways of the old religion. a traditional caravan typically includes half a dozen to a dozen family units, though these numbers are dwindling in recent times due to the religion’s attrition. maidens are often married off into other caravans in order to maintain genetic diversity; infrequently, promising young men may be trained in the ways of the religion and allowed to break off and form a new caravan, usually when the existing caravan is growing impractically large. caravans do not fight amongst one another, generally speaking. criminals are judged by three different caravan leaders before being punished, though punishment can be quite harsh— exposure to the qahn is the most extreme punishment, though not exceedingly uncommon, and is reserved for crimes such as rape and murder.

sifa cities along the southern fringes of the continent are generally atheistic if not a bit superstitious, and place great value on ingenuity and entrepreneurship. centuries of stunted technological advancement have effectively charged the sifa cities up for a breakthrough in scientific understanding, and they are rapidly becoming the most technologically advanced civilization in kralle, surpassing even the derrish. interestingly, sifa cities are significantly more prejudiced than the nomadic walkers, probably because on the caravan all hands are needed equally, whereas in the mercantile cities women can afford to stay at home and remain subservient.

walker architecture is necessarily temporary and transportable, so it mostly takes the form of simple tents. sifa cities are colorful and ornate as pictured above, with buildings mostly made of carved and dyed sandstone or brick. their seaside location, bright colorations, and intricately carved facades give the cities an exotic and jubilant feeling.

#wbj #worldbuilding #kralle #wbj 2019 #auspice

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