Lovis is the world, and is shaped like a flat spring. Its form is that of a great, stone blood vessel which holds air and heat within, and endless, icy ocean without. From the surface of the world, actually its interior wall, its curve appears straight, hence the ‘flatness’ of its shape. Those with a mind to understand it for a long time assumed it was a toroid, but if one follows the sunpath along its curve, one will never see a familiar landmark repeat, as far as anyone knows, the world is an endless tunnel through an endless ocean, and it crosses through itself endlessly.
Gravity created by the vast mass of ocean beneath and outside of the world, and pulls towards the ground which wraps around the sky. Air clings to the walls, and thins towards the center. The interior-most point of the sky, the sunpath, is either airless, or has air so thin and frictionless it might as well not exist. Suns run down this path like cars of a train, or marbles down a chute. When a sun passes over, its own gravity acts against that of the ocean, and gravity on the whole is weakened. This effect is too slight to notice casually, but very sensitive and finely tuned clocks operate by detecting the slight shifts in gravity over the course of the day, which also varies by season. A season is nothing more than a sequence of particular suns, and there are three kinds. The suns of the red season are small, dim, and bring cool weather and higher noontime-gravity, since they do less to pull against the force of the ocean. The suns of the white season bring scorching heat and lower noontime-gravity, and the yellow season is intermediate. A year is a sequence of somewhere between 536 and 554 suns, give or take, and does not always have the same length or order of seasons. The turning of a year is determined by the passage of a massively large and ominously green sun, and the exact length of a year is not known until it has concluded. In academic circles, it is commonly held that the varying length of years and seasons are calibrated to some particular effect. What this effect could possibly be, and what intelligence is doing the calibrating, are topics of debate as contemporary as the line of suns is endless.
The suns bake the land into desert and dust, scatter the spores of the gods, and churn the wind with their immense convective heat. Because the world’s surface is dry and thin, it tends to crack, ripped open by its own spinning and flexing, and should it crack too severely, the ocean would press up and through, drown all life, and snuff out the suns. The cracks in the world are filled by the bodies of great metal gods, those born from the sun-shed spores.
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THE 'ENLIGHTENED SCRIPT'
Warning: This will end up becoming a VERY LONG post. Also it turned out to be vaguely academically phrased — so warning for language too formal for how not-normal I am about this
Disclaimer:
This isn't for the 'actual' Enlightened Language — only to write stuff out in English with a different set of symbols in art (or, let's be honest, just for fun).
I have no proper knowledge of how to make scripts (such as if there are any common conventions to follow). If anything here offends you in terms of its accuracy or correctness, please don't come at me with pitchforks :)
I've done my best to make this explanation simple and thorough, but obviously there may be things that I have forgotten to mention (or things that I've perhaps not even considered). If you want clarification on anything or just have questions about the script, asks are welcome! (any discussion of the script will be tagged '#the enlightened script')
If you wish to use this script, feel free to do so! (I only request that you credit me (@/worldsunlikemyown) if you do). I would prefer it that you do not repost this to other social media sites, but if you do, please credit me clearly.
Introduction
The term 'Enlightened Script' (ES from now on) is technically a misnomer, because we know nothing about the Enlightened Language (EL from now on) and thus cannot make a script 'for' it. This script is, however, built upon the little we know about the aesthetic appearance of the actual script of EL, and contains the same twenty-six letters as the Latin Alphabet. It is made primarily for use in writing Modern English (it contains no diacritics, and will thus have little utility for writing in many other languages that use the Latin Alphabet). ES can be used to simulate the actual writing of EL, and represent this simulation in art and inscriptions where desired.
The Enlightened Script
This script has been designed with a view to the aesthetic of the actual script for EL, modelled somewhat from the unreliable example of Vespera's signature. It features heavy use of curls for this reason in the alphabet, with numerals and punctuation marked out by their relative lack of curls and embellishments. Note that symbols may vary from example to example in some small ways, as they are hand-written. If you wish to write ES in any of its forms, follow the general form of symbols from the three examples below).
**Click for a better resolution**
LETTERS
PUNCTUATION
(yes, I'll explain the square-bracketed symbols later)
NUMERALS
Modern ES
'Modern' ES refers to the version of ES that would be used in the modern day by elves and the other Intelligent Species in their daily writing — what we might call the 'normal' version. It is written with the same writing conventions as English, keeping the same spelling and orientation (left to right, then top to bottom). For example:
Here in the top-right of the image, the word 'suldreen' (chosen because it is the only real EL word we know) has been transcribed into Modern ES. It can be seen that the letters have been written out without joining or cursive elements in the manner of an English word. In the bottom half of the page is a quote: 'No reason to worry' (yes I used an Alden quote — it'll be easier to remember and was the first typical Keeper thing I thought of). This has also been written out in keeping with the conventions of writing in English.
NOTE ON PUNCTUATION: You will notice that in the PUNCTUATION section, some forms have been given in red square brackets. These are to be used for Modern ES (such as the colon represented in the image above, as well as the dash in the example). The version of the form outside of the red square brackets is to be used for Traditional ES. Symbols with no variant form remain the same in both versions of ES.
Traditional ES
Traditional ES is the oldest version of ES currently in use. It is the 'old' writing of the elves, which is used in the modern day mostly for adding a sense of grandeur to the atmosphere through its use on signboards, meaning that only its display version, which will be in the next section, is still well-known. I shall explain the proper form of Traditional ES first, however, because it is commonly used by the Ancients and as a basis for many of the codes and ciphers of the Elven world.
You may have noticed in the LETTERS section that the vowels (a, e, i, o, u) of ES are represented by symbols that open to the left, while the consonants are represented by symbols that open to the right. This is a 'remnant' (hush I don't know how to model change in writing systems and besides this is a simulation) of the system of Traditional ES, shown below.
Here is the word 'suldreen' again, transcribed in Traditional ES. The change in orientation is at once apparent, for Traditional ES, unlike Modern ES, is written from top to bottom, then from right to left. As seen in this example, letters branch out from a trunk that forms the word, with each letter's connection to the trunk referred to as a branch. Consonants are written on the right of the trunk, and vowels are written on the left, resulting in all symbols opening outwards. The topmost branch on a trunk is to be read first.
An example of longer text in Traditional ES:
Note that the punctuation orientation for the quotation marks has changed, and now uses the symbols given outside the red brackets. The question-mark remains unchanged, and is written in the same way in both Modern ES and Traditional ES (along with the comma, full-stop/period and exclamation-mark symbols). The sentence starts on the right, and the second line is the next one to the left, which is to be read from the top again.
Signboards in ES
The use of Traditional ES in the modern day remains mostly limited to signboards. To write on a signboard, a line of Traditional ES is, so to speak, rotated 90 degrees anti-clockwise, with the vowels now written on the bottom of a horizontal trunk, and the consonants written on top. It is read from left to right, then top to bottom if applicable (perhaps this may have influenced the left to right orientation of Modern ES). An example below:
The word written in the examples above is 'Everglen', first given in standard Traditional ES, then in the signboard version. In terms of the appearance of this 'signboard version' to elves, it would be read by Ancients as a vertical sign in English is read by us (see the right of the image). To most modern elves, it would simply register as an archaic version of their script, with no particular orientation difference observed.
Numerals and Mathematical Operations in ES
In-universe, the base-ten place-value system was (in my HEADCANON, and I cannot stress this enough) brought to the humans by elves. The writing of their numerals, as may be noted, has some similarities with Roman numerals (which in-universe, the Romans would have learned — again, only as a plausible headcanon — from elves). I have created the numerals to be written somewhat like Roman numerals (with the combination of symbols — I'm not sure of the right term for it). Operations are conducted in the same was as in the base-ten place-value system we use. For example:
In the example on the left (which reads 'Book 9.5'), it can be seen that numerals in Modern ES are written with the same orientation as the letters, with an un-filled dot representing the decimal point. The same applies to Traditional ES, but there is no trunk for numerals (just as there is no trunk for punctuation).
Operations have always been done with a horizontal orientation. Addition, subtraction and multiplication operations are done as shown in the middle-right of the image. The only thing drastically different from our own method of carrying out these operations is that the operation symbol is always to be put in a circle. The same applies to division, which is shown on the far-right. Fractions are written as shown bottom-right. (I don't know about special numbers and stuff okay let's pretend elves can't do math or just use the human symbols and say we got them from elves)
Handwritten examples (for a better understanding of sizing and possibly nicer-looking symbols) have been given under the cut, along with explanations and some interesting notes.
MODERN
TRADITIONAL
Note that the trunks for Traditional ES have been marked on each line. For numerals and punctuation, the portion of a line on which they are written will not be 'dashed through'.
Notes:
It is possible to 'reverse' Traditional ES to read from left to right by using mirror-forms of the letters, resulting in the vowels written on and opening to the right, and the consonants written on and opening to the left. Punctuation may or may not be used.
Modern ES could be 'reversed' in any of the many ways things written in the Latin Alphabet can be 'reversed' (one of these was likely used by Jolie for her mirror-written diary. Do with that as you will).
Taglist (tagging anyone who has interacted with the original post): @mee-op, @im56bithc, @lgbtqforeverything, @bookwyrminspiration, @camelspit, @strs-rndrps, @thefoxysnake, @kingkrakie, @keeperofthelostswiftie, @fintan-pyren, @brontekotlcyan, @vesperas-mirrors, and also @acanieve and @theefrenchcroissant, whom I can't seem to be able to tag properly)
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Archaeologists Discovered Large Roman Baths Under Museum in Croatia
The pool, mosaic floors and underfloor heating once formed part of Emperor Diocletian’s palace.
Archaeologists working to install a lift and restore the ground floor of Split City Museum got more than they bargained for when they unearthed sizable Roman baths underneath the building’s reception. The museum in Croatia’s second largest city was founded in 1946 and is held inside the Dominik Papalić palace—the former home of the affluent Papalić family who settled in Split during the 14th century.
The baths are in a well-preserved condition and include a pool, mosaic floors, ancient underfloor heating, an oil and grape press, and a furnace. Communal bathing was common across the Roman Empire, and baths acted as a space for relaxation and socializing.
The Split baths are believed to have been part of Diocletian’s Palace, built in the city at the end of the 3rd century for the Roman emperor’s retirement. The large fortress once spanned half of Split’s Old Town, and parts of the palace’s remains are listed UNESCO World Heritage Sites. The discovery of these Roman baths confute historians’ previous understandings about the layout of the ancient complex.
he repairs were planned as part of the “Palace of Life, City of Change” project, which is described as an “integrated program of development of the visitor infrastructure of the Old City Core with Diocletian’s palace.”
Split lies on the Adriatic Sea coast and was founded in the 3rd century B.C.E. as a Greek colony (then known as Aspálathos). Split’s landscape is made up of myriad architectural styles spanning hundreds of years, from classical ruins to Venetian Gothic structures. The director of the Split City Museum Vesna Bulić Baketić, spoke about the city’s rich architectural composition, “the fact that all of these layers of earlier buildings that once made up the city are visible inside the Split City Museum provides this museum with additional value that is exceptionally rare.”
The museum plans to open up part of the newly discovered baths to the public, once the structural integrity of the building has been ensured. The ground floor will also be restructured to celebrate the new discovery. “Showing our visitors the ‘living past’ that speaks to us through the original layers of centuries long gone adds insurmountable value and legacy to future generations,” Baketić said. “It is up to us to carry this out in the best and most professional way.”
By Verity Babbs.
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absolutely obsessed with how Kanej is a friends-to-lovers relationship where their broken pieces fit together and complement each other in a way that is nearly impossible to achieve with anyone else in their lives
We get several fun little tidbits of Kaz and Inej's pre-canon relationship sprinkled throughout the books, and it's honestly fascinating how Bardugo did the best she could to scream "they're best friends!" without outright saying so.
We know that Kaz gave Inej her first knife and personally trained her ("Kaz taught her to crack a safe, pick a pocket, wield a knife"). We know that Inej regularly spent time in Kaz's room doing everything from giving reports while watching him casually undress (lol) to lounging on his windowsill while he worked. We know they stole the DeKappel together. The literal second chapter of SoC mentions that they "spent weeks" playing Buzzfeed Unsolved about the Exchange murder case. And we get these delightful throwaway lines too:
In nearly two years of battling side by side with Kaz, of late-night scheming, impossible heists, clandestine errands, and harried meals of fried potatoes and hutspot gobbled down as they rushed from one place to another, this was the first time she had touched him skin to skin, without the barrier of gloves or coat or shirtsleeve. -Ch. 28, SoC
Kaz had rescued her from that hopelessness, and their lives had been a series of rescues ever since, a string of debts that they never tallied as they saved each other again and again. -Ch. 4, CK
But I’m here now, he thought wildly. He had carried her, fought beside her, spent whole nights next to her, both of them on their bellies, peering through a long glass, watching some warehouse or merch’s mansion. This was nothing like that. -Ch. 26, CK
Like...they're besties, y'all. Inej became the one constant in Kaz's life and she gets him on a level that no one else does. Meanwhile, Kaz manages to always see Inej even though she's crafted her entire persona on being invisible. Jesper may be Kaz's brother and Nina may be Inej's sister but Kaz and Inej are each other's best friend, and the bond of all those shared experiences are a big part why they fall in love with each other.
That bond also deeply informs how they interact with each other throughout the books. Kaz and Inej are in some ways custom-built for yearning and pining and loving from a distance because of their pasts and mutual trauma, and there aren't very many other people who could understand how that trauma affects them and what healing looks like. The reciprocity of that understanding and the allowances they give each other because of it is a genuine rarity that I don't think many people appreciate, especially in a relationship weighed down by that much mutual baggage.
Kaz can't touch skin and Inej often walks on metaphorical eggshells due to the fear of her skin being touched. And while their trauma comes from dramatically different places, they both react to it similarly: by becoming "untouchable," keeping most people at a distance, and laser-focusing on a personal goal. Even their PTSD manifests in similar ways: Kaz physically and psychologically feels like he's drowning when he's triggered, but Inej dissociates and retreats inside herself, drowning within her own mind.
But as traumatized as they both are, as angry and stubborn and mean as they can both be with each other, they're each other's safe harbor in a very lonely and dangerous world that dealt them both a shitty hand; relying on and trusting each other helped keep them afloat and alive. So they're willing to let each other go even if it kills them inside, because they have too much personal respect for each other and themselves to do anything different...but they're willing to fight for each other too, and that's what makes them click in a way that would be insanely difficult to accomplish with any other person.
Kaz and Inej don't really want to become more whole for each other, though that's part of it, but they absolutely want to become more whole because of each other. They want each other, physically and emotionally. They can't necessarily have each other at first because of their mutual trauma, but they're also both willing to a) fight for the chance to be together and b) give each other the space, time, and freedom to heal on their own terms, because they both fundamentally respect the other as a person and friend...which is the solid foundation that enables them to eventually come together and succeed as a couple.
Anyway nothing says "this ship is for yearning" like the boy who can't stand physical touch and the girl who escaped from sex slavery, both of whom are deeply traumatized by their pasts but see each other as bringing safety and magic into their world. We simply have no choice but to stan.
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