#wardin

The two populations of native Wardi lions, a wild male and captive semi-domesticated (maned) lioness

Lions are one of the last extant true felids in this setting. The native Wardi lion population is low in density and could be considered endangered, (though relatively stable and not in active decline), having survived the continental interchange, changing climate, and sophont expansion that wiped out most other felids. They are most common in areas outside of the range of king hyenas (notably the deserts, edges of the salt pans, hills, and oak forests). The Wardi population is characterized by relatively light coloration and dark, scruffy 'mohawk' like manes. The only other known surviving lion population in the world is in the forested region east of Imperial Wardin, genetically isolated by the Blackmane mountain range and spared competition with hyaenadontoid 'cats'.

These animals had great significance in ancient 'heathen' Wardi culture (prior to colonization by two former Burri empires and development of the contemporary monotheistic faith). The exact details of these traditions have been lost to time, though they were clearly venerated, either as gods themselves or as sacred animals of a key deity (known from relics depicting a deified maned lioness)

Two distinct strands of this tradition survive into the contemporary. One is in the folklore of the Wogan people (an ethnoreligious minority in contemporary Imperial Wardin with common cultural ancestry with ethnic Wardi, displaced from their original homeland during the time of the last Burri empire). Wogan folklore casts maned lionesses specifically as minor deities who can shapeshift into human form, often to mate with men (with the resulting children being demigods). The Wogan culture hero Ianobi (semi-mythological founder of the ancient city that was sacked and rebuilt as Erubinnos) is claimed to have a lioness as a mother.

The other remaining branch of this tradition is Odomache (the 'lion face' of God in the imperial Wardi faith) and Its Odonii order of priestesses. Though their contemporary role is primarily interlinked with the military and as physical embodiments of imperial soverignty, they are also ceremonial keepers of a captive, semi-domesticated population of sacred white lions, raised primarily for roles in routine animal sacrifice (both as a conduit for God in consuming offerings, and as sacrifices themselves)

i just have so many warwick x haydin thoughts!!!!!!!!!!!!

I think had they met earlier they wouldn't be so doomed <:3c

The pelatoche, an apotropaic visual motif widely used in contemporary imperial Wardin.

Belief in curses and attachments by evil spirits is a significant part of the cultural schema. This includes a variant of 'evil eye' beliefs- the gaze has great symbolic power and is known to inflict a state of metaphysical vulnerability, in which the body or soul is susceptible to change and transformation. Though metaphysical vulnerability itself is neutral (it can result in both positive and negative change), most attempt to avoid this state of being as it leaves one vulnerable to curses and spiritual pollution. Because it is impossible to avoid a sinister gaze altogether, many wear clothing and jewelry with this motif to neutralize ill effects.

The core motif consists of a vertical humanoid eye. If given only one distinct tear duct, it faces upwards. If the iris is colored, it is most commonly blue, gray, or white. Blue and gray eyes are considered most potent at inflicting curses (and thus can be potent at deflecting them), and white pelatoche are usually made with inlaid pearl (a substance believed in of itself to have a shielding nature). Mirrored surfaces for the iris, pupil, or entire eye are also common as a means of reflecting curses.

There is great variety in how the pelatoche is depicted. The above representation is a clasp for a cloak, made of gold with inlaid blue glass, and on the relatively ornate and realistic end of the spectrum. If multiple pelatoche are depicted together it is almost always in sets of seven, and in this case may be referred to as odatochent, which roughly means 'the eyes of God'. Odatochent are believed to be particularly potent against evil spirits (rather than just evil gazes) and tend to be worn as jewelry, often very gaudy with each eye containing different inlaid jewels (which themselves may each have significance).

The eye being turned on its side in of itself is a form of deflection. The distinctly yonic look of many variants isn't an accident either, as depictions of genitalia are also believed to have apotropaic qualities.

The common name itself - pelatoche - partly derives from and refers to Pelennaumache (one of the seven faces of God, this one presiding over the sea and heavily associated with luck, curses and fortune). The other key Imperial Wardi apotropaic symbol is the skimmer-woman, which is related to Pelennaumache and depicted as a woman with blue eyes, albatross wings (or the body of an albatross) and exaggerated genitalia. The pelatoche is a syncretic fusion between preexisting traditions of apotropaic eye symbols brought to the region by the former Burri empire and the regionally native skimmer-woman motif.

Ok I have been repeatedly asked about maps and I cannot provide any that are anywhere NEAR up to date enough but I can provide this (still WIP and missing most of its lesser cities and virtually all of its towns LOL) map of the Wardi Empire.

(Note- don't take the exact paths of rivers and coastlines too seriously. The broad details are accurate but I'm mostly drawing squiggles here)

Key:

Red area: lands nominally claimed by Wardi imperial rule. It is less territorially contiguous than this map would suggest, but this is broadly accurate. Lavender area: lands of major tributary states/other conquered entities/contested areas (many all at once). Lands that are either self-governing but tributary to the surrounding empire, or heavily contested and in conflict against imperial land-grabbing. Light blue (within red/lavender boundary)- nominally claimed as Imperial Wardi land, but either largely wilderness or otherwise effectively self governing. Most of central Wardin is sparsely populated grassland and savannah, with dry scrubland to the south. Star: A central city-state Dot: A major city.

Red Leerya, a famous courtesan and actor in the citystate of Wardin, displaying two theatre traditions now common in the Wardi Empire. 

The shogokurza opera "The Sundering of the Askosi Bride", a mythological drama regarding a princess who is betrothed to an ogre king.

Shogokurza opera (literally "Vipers Winding Dance", referring to the sea of that name) originated from prior operatic traditions of the former East Burri Empire, and retains many ancestral traits not common to other contemporary Wardi theatre (notably the traditional all-male casts, flowing dance style and energetic percussive background music.)

The operas follow a 4 act structure and traditionally contain a chorus that functions as an omniscient narrator that guide the story along. Actors wear makeup designed to enhance expressiveness of the eyes and lips while still not being highly exaggerated (unlike fully painted faces that characterize most natively Wardi theatre traditions). Actors are usually elaborately dressed in flowing material that accentuates their movements.

These operas span a variety of subject matters, but are most often historical or mythological dramas and tragedies, with most ending in at least one tragic death. Romances and comedies occur, but are more rare. Each opera revolves around a cast of archetypal character roles (the hero, the lady, the trickster, the monster, the elder- and variants within).

Leerya is an akoshos, meaning a performer who specializes in the roles of women in the opera, considered beautiful and highly adept at movement and mannerisms deemed 'female'. This term is also slang for a minority social role of those deemed men and/or eunuchs who wear women's dress in daily life for non-religious reasons, and are assumed to be passive partners in sex with men (this varies in actuality). Akoshos use the language's masculine pronoun and titles (hence 'he'). Not all akoshos actors are akoshos in daily life, but Leerya is both.

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The war farce of King Dirvel Tygerstread, recounting the failed invasion of Godsmouth by the aforementioned Royal Dain king.

War farces (Jkomachi) originated from ancient ethnic Wardi traditions and gained mass practice and greater diversity in the contemporary Wardi Empire. These plays are satirical treatments of past or present wars, characterized by scathing mockery of political enemies or infamous figures in Wardi history, embodied in the character role of the Bucbuc Mache ("great-great general" (double repetition of an adjective is a tonal indicator of sarcasm in the Wardi language)). 

Historically, these plays were considered more 'highbrow' and could be characterized nigh-universally as propaganda designed to depict enemies of Wardin (or its individual city-states) as monstrous and bufoonish and spur xenophobic sentiment. As time went on, war farces became seen as a more 'lowbrow' form of entertainment for commoners. This development effectively democratized these plays and allowed greater contribution by minorities and non-citizens, and many contemporary war farces openly mock Wardi politicians and warlords (though the full spectrum still exists).

War farces combine vocal performance, music, dance, and acrobatics. There is typically little or no singing, and dialogue is spoken in verse in an antiquated and formal dialogue. They are characterized by expressive makeup that exaggerates facial expressions, high-energy physical performances, and often slapstick elements.

These satires are now generally regarded as a low form of theater due to the bawdy and crude humor and clownish antics that often define the Bucbuc Mache role, and a significant association with prostitution (brothels are some of the most common sites of performance). As such, it is uncommon for esteemed courtesans such as Lemnha to perform in war farces.

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Red Leerya is a significant exception. He came into success through his Bucbuc Mache portrayal of the king Dirvel Tygerstread, an infamous Dain king who led a failed invasion of Godsmouth a century prior. He is an extremely popular figure for war farces as he is near-ubiquitously hated, even by the people of the Tygerstread kingdom itself (though many contemporary plays use him as a stand-in for the squabbling kings of the North Finns, an unrelated royal Dain people considered enemies of Wardin).

This has to be answered more in terms of how Wardi cultural views on sexuality work

This is a culture that produces eunuchs for both religious and punitive reasons, and eunuchs are viewed as somewhat close to a third gender. They occupy a social space that is simultaneously holy (in the case of the Galenii at least) and something 'lesser', seen as neither a man or woman.

An adult man can have sex with women or eunuchs or younger men with no questions asked. The key to normative male sexuality is that one is the active member of a sex act, and does not receive any form of penetration. To do so is considered emasculating and challenges one's credibility and authority.

The sexuality of women and eunuchs is not subject to as specific social standards, and rather is viewed in frameworks of acceptable levels of libido. (Which is another dimension of common regional sexual standards- there is no moral importance placed on celibacy but there is importance based on discipline and normative sexual appetites)

For the Galenii specifically, they occupy a sort of gray area where they are seen as neither men or women and are thus free from many standards of normative sexuality, while also being seen as somewhat strange and debased for that fact.

Galenii monks are supposed to be entirely celibate (along with following other ascetic practices), as another dimension of their self-sacrifice to ensure fertility of those under their spiritual protection. This is not thoroughly enforced though, as 'celibacy' in this culture is defined along the lines of penetration (and all Galenii are castrated). Galenii priests are not expected to remain celibate and are relatively free to do what they want (though again, will experience social consequences for deviating from standards of a normative sexual appetite). They are also commonly assumed to be wholly desexualized due to their castration. It may be true in many cases that this starkly reduces libido, but the removal of a penis and testes in a human does not necessarily eliminate sexuality or the ability to orgasm.

This can be difficult to navigate on an individual basis. A lot of Galenii are accused criminals who took this path to escape more severe punishment (giving criminals the option to become Galenii is seen as both a way to redeem themselves through sacrifice and to 'disempower' them via castration), and are going to naturally have very difficult relationships to their sexuality after the fact. Their cultural standards tell them they are no longer men, but they aren't necessarily going to feel like something innate has changed due to coerced removal of their genitalia. On the other end, some people are attracted to the role as a socially acceptable means of escaping the expected standards of manhood, many of whom would perhaps be considered gay and/or trans per 21st century irl lgbt definitions of identity. Many Galenii do not have exceptionally complicated relationships to their gender/sexuality and are simply devoted to their role in service to God and as conduits to ensure blessings of fertility to Its people and lands.

Statue of the divine ox Od lifting the world out of the cosmic ocean during creation.

This statue is in a relatively intact water garden in the ruins of Old Bur. It would have originally possessed ivory eyes and gold horns supporting a silver globe, but most precious metals and valuable objects in the city's remains have long since been looted.