HUKAT, A TRAVELLER'S ACCOUNT

LANGUAGES OF THE DOMINION

HUKAT, A TRAVELLER’S ACCOUNT

“Hukat”, they call it. I was told by Chase (spelt Sha-Se, written as XSE), their medical officer, that it would be better this way, if I learned it and fast. If I ever wanted to complete my mission with Ayrio.

I’m still struggling with old Marsi, so I don’t even fully understand what Chase tells me half of the time, but, whatever this strange human, or Chelok language is, it is close enough to what I know to be useful. From what I understand, it's an old liturgical language of “my people”. He is rather surprised that I don’t know it nor hukat. Apparently a second-language to many of my kind.

I explained to him I am not Chelok. Though he very patiently nods at it, I know he is humoring me. Mind you, for a Specter, he is quite of a strong will and humor.

I’ve been his shadow since I’ve been forcefully “invited” to this settlement by his people. He’s the oldest among them, but repairs and spare parts have kept him good as new for almost a century.

There is something deeper about the language I still can't quite grasp. The spelling rules I can learn. Which syllables take stress, when to write K or Q, those are merely habits. The speech itself is another matter entirely. It seems their faces and nasal structure echo and blow some air in ways my flat, human, face cannot. So I’m left to fare with this strange idiom with whatever mother-nature has bestowed upon me.

Chase told me that I shouldn’t be afraid of not being able to say it. It’s a well known fact that Chelok, I mean, Humans, can’t really do it. So it is okay as long as I get the syllables right, I will be understood.

I at least learned how to read well. Well, spelling out loud I mean.

Just enough that through some educated guesswork, most words reveal themselves before me. The base roots are pretty simple, but the more specific a word gets, the concept behind a word becomes more abstract. The ancients had words for water, rock, and silver - but they couldn’t ever foresee something like gasoline or computer screens. Which they call, if translated literally from the compound words, “fastwater” and “bright canvas”, which sounds crude when worded like that, but I personally find it quite helpful for my hoku education.

It took me embarrassingly long to realize the letters weren't merely letters. Each one used to mean something before it became part of the writing system. Not every word still uses those meanings literally, but enough do that you begin to notice patterns. Two symbols together often suggest a broader idea, four or five may describe something surprisingly specific. Sometimes I can guess an unfamiliar word simply by recognizing two of its older roots.

The letters for “ground” (D, de) plus “measure” (G, gue) together make the word “short” (DG, dege). As if you are physically measuring the distance from the ground up.

Which is deceitfully simple to grasp at first. Until you arrive at something like “nation” (ZAEXOKU, zaaexoku). It is, simultaneously, wonderful for my education and terrible for my sanity, very stackable in the way it produces words from simpler concepts.

I still have some difficulty figuring out what parts of words are the actual roots and which are descriptors or specifiers. I'll word it like that. Though the order of the compoundings seems rather consistent most of the time.

And don’t get me started on valency, placeness, intensity, and verb direction. Heavens, what a nightmare.

The hoku. Perhaps safer to say, these hoku, in my current ignorance. Refer to MOST concepts in what Chase has explained to me as “positive” or “affirmative” direction. Which, as far as I could research from old magazines and books and even an old hard-cover dictionary, means that ABOUT HALF of the words in this god-forsaken tongue don’t formally exist anywhere.

Sure, they ARE USED, in writing, and speech. But they don’t exist the same way it exists in Marsi, Anglis, or Franque, or even Latin for all I know. Every verb seems convinced reality comes in directions.

"Flow" (FXF, fixafi) exists.

"Not flowing" (MVFXF, mevifixafi) exists.

"Reverse flow" (MNFXF, mnefixafi) also exists.

Same word, three completely different verbs. To go, to go nowhere, and to return.

Apparently every action wants to know who's doing it, who's receiving it, and whether either of them ought to exist in the sentence at all. Chase called it Valency. The Hoku seem perfectly comfortable with this arrangement. I am not.

Then comes what Chase calls Placeness. A thing isn't merely a thing. It's also somewhere, becoming somewhere, belonging somewhere, or existing in some state I still haven't figured out. Which I think gives the language some poetic liberty, but also makes me look either uneducated or insane when trying to speak, alongside grammatical genders and imperatives.

I find Intensity, alongside direction, the most important part of the language in the sense that it produces more words with recognizable meanings at a glance. In crude terms, it's how large your subject is.

Think of “animal” (QIUK, qiuko).

A very small animal, such as a vermin or small bug is a qiukegi (KIUKEGI), but a large beast is an aaqiuko (AAQIUK), while a mythical monster is a qiukosage (QIUKSG).

I won’t even delve into derivational morphology and determinant articles because even though my notes are still incomplete, after almost a year among them, it seems pretty standard to them, of course it is. But they often get the memo when I say “drink”, “eat”, “you” or “us” anyway. Some gestures and mime often help bridging the gap, they seem to do the same to me when speaking.

I must admit that, because learning hukat seems more convenient for me at the time, it is beginning to be an intuitive bridge between Titan and whatever is this Chelok language. By simply looking at the way the Hoku translates these strange words.

I can’t wait for you to have a crack at it, Galileo. I’m sure you and Chase would do well with one another, and hopefully, give me some subtitles in my helmet visor soon.

The big day is tomorrow. I’ll see you in the desert, my friend.

Ian, sol 181, whatever year you reckon it to be

SCIENCE&ARTWORK | THE HOKU | STELLAR ERA

FINAL YEARS OF THE PRE-STELLAR ERA

At the time of the Great War, there were six great nations at odds with one another.

• Ent'Shelari Republic
• Dahetian Republics
• Hukatian Empire
• North and South Sidessia (in civil war)
• Kalopan Empire
• Farkade Union

Heavily disputing control of the globe at least for the past century or two.

Thrown against each other in dirty resource wars to feed their ever expanding industry and war machine, regional conflicts soon had these powers meet with each other. Fully bloomed world war. Each fighting on multiple fronts against multiple declared enemies - both deploying terrible weapons against one another, just as soon as they were developed live on the frontlines.

The armsrace had made it so the sun hadn't shined in half a decade. Records of this time are rare and sparse, often removed from context by the movements of the tribes that remained. Legend has it, a small circle of generals accorded to finally put a stop to the massacre. It is unclear if the technology was intentionally leaked, or if it developed independently. But someone had finally split the atom. It didn't matter to that circle who had it, they knew it had to be used if they wanted to fix the world, if they wanted to reset the cycle of violence. If the world had to be burned so it could truly flourish again, if all flags had to be burned to unite everyone, so it had to be done.

It was the last day of summer, 92 PSE.

600 million gone in an instant.

The ash, the radiation, and the scavengers, claimed the remaining 6 billion in the following decade.

YEAR ZERO

The southern regions of the world, mostly a vast sea populated by a single continent, were largely unaffected by the exchange and its effects. Without global trade or ultramarine enemies left to fight. The handfull of organized groups and states that remained in the south continent coalesced into the Commonwealth of Sidessia.

Though, the reality of the aftermath of the nuclear war is that most of the northern lands were far too razed to occupy. Though nature always found a way to creep back in. And so the Commonwealth learned quickly. They too had to adapt.

Engineers, doctors and ecologists alike worked to create variants of known crops and cattle, resistant to the radiation, resistant to the terrible climate that slowly waned... Then it occurred to them, if designing was the key to survival in a new world - then why not redesign themselves?

The result of these decades of research, questionable, inhumane, but deemed VITAL research, were the Kahikōpafi (better translated as "divine servant", or crudely "angel"). The Angels were a mass-produceable workforce designed to clear and re-settle the northern wastelands. Greater resistance, greater strength, superior intellect, balanced by constant work-load, constant oversight, and short lifespans. Easily spotted by their characteristic looks, it was almost impossible to miss those 'elite slaves' amidst the public - and oh they tried.

As the employment of Angels grew. So did the public sentiment that these beings were something else, something more than mere tools sent to work in no-man's-land, something more than lead-soldiers to be cast and mowed down by conflict.

Each generation of Angels meant a different conflict between demand, performance, and the public perception. Different skillsets, different lifespans, different patches in behavior patterns and social skills. Even limited breeding generations for the farthest reaches of the land.

Them Angels fought hard to earn a spot. And a well deserved spot indeed, they had brought that world up from the ashes almost entirely on their own. By the time of the Somoga Event, it had been almost three centuries the Angels had become the Hoku's right hand.

And the promise of freedom came with one last pharaonic task - run for the stars.

Within a few years of building the Somoga Square Zaega Array (Okuiuka Zaaega Iutso det Somoga, O.Za.I.So. literal for Plateau), a radio telescope range, the Somoga Event happened. A stream of radio, gamma rays and radiation all across the high energy spectrum. Peaking on a cluster of stars in Hokushoku's celestial south. The energy levels required to produce such an event from this distance - the physicists reckoned, would require destruction on a planetary scale - compatible with the deployment of a theoretical superweapon, a relativistic missile. No other explanations satisfied the case.

They had barely any chance to ask themselves if they were alone. The forest echoed a roar back at them.

GOLDEN STELLAR ERA

Sending Angels and Hoku to nearby planets in their own system was quite above ordinary - compared to what they had previously achieved on the surface of their homeworld. Settling their neighboring ice world of Namenza with a permanent Angel and Hoku population. But looking up at the stars, require some far more sophisticated leaps.

The Specter, as the Chelok call them, was a natural step in manning missions sent to distant moons, planets - and then stars. The specter chassis varied with the designated tasks, from being simple cores operating whole factories, to UAVs and UTVs, down to being more avipodomorphic with recognizable and relatable faces and expressions, working as police, healthcare, or assistant units worldwide and offworld.

The development of better and even more autonomous AI allowed the hoku to dare sending precurssor missions at various extra-solar planets during their first stellar era, both habitable and uninhabitable worlds, these robotic missions had the same intent of their first efforts, pave infraestructure and acquire intel for the upcoming organic population, once they figured how the hell one does safely traverse interstellar space.

Auot'zae never became habitable again in its full extension because of the still radioactive zones, but the fallout had thinned enough in areas which could be treated and recovered with work. Because many northern cultures and technologies were lost, groups of kahikopafis adopted the ancient languages, and custoums of these lost civilizations as their own, while some created entirely new ways to have a sense of ownership over their fates, hence why we see the reapperance of old tongues such as Hukat and Entselari throughout off-world populations later on.

The Dominion is densely populated with stars, however, many of these harbor dead or gaseous worlds. Very few were deemed high-priority targets for the Hoku's purpose: Escape the Dominion grasp, whatever it was.

The closest of such worlds was aptly named Muhori (in Sidessian mythology, it is an island where demigods reside), some 20 light-years from the Paza system. A brand new, barren and young, oceanic world.

In their early attempts to settle this distant jewel, the Hoku also independently developed what they would later recognize as the modern Starlane. An excavated "tube" in the interstellar medium that allows for safe relativistic travel.

The first crewed ships to cross the void were egg-ships, which incubated an Angel crew in the final two decades of their century-long trip to settle Muhori. Though specter crews were sent to that and other likely target at close to twice that speed.

In the 1000 years since the last great war, the Hoku Expanse (Azapaxako Hoku) had already set foot on five new worlds beyond its home system. But not all worlds were as welcoming as Muhori.

FIRST ENCOUNTER WITH THE CHELOK

One world called their attention heavily. Qekohoshoku - the golden world. A tropical world with golden vegetation reminiscent of their own homeworld. When the Expanse got there in 734 SE (7,929 of the Ecumenical Era, by Chelok reckoning), they met a local population of Chelok. Their first contact with alien society which they weren't aware existed at the time.

The locals received their extraterrestrial visitors with warm, and told stories of the greater Chelok domain, a string of 'island nations' that crossed straight through the Expanse's claim to the heavens. The population of Qekohoshoku however, was an estranged strain of the Chelok Empire, the presence of the Expanse would be tolerated, but deals and commerce would probably have better success dealing straight with the administrative core of humanity, at Dheghom.

And so the Hoku did use what they had learned on Qekohoshoku and took their case to Dheghom - albeit on a cautious foot.

Meeting the Chelok was a far more underwhelming event than what the tales and the allure for the strange would have you believe. Very few trips, mostly letters through beamed lasers. To the Hoku, they seemed far too firmly planted in place, far too preoccupied with themselves, far too unconcerned about whatever it was they witnessed almost a millenium ago.

'The Dominion'. It had a name, and the Chelok knew of it, had dealt with it. They were there at its founding. With a concerned expression, they told the Hoku what they knew. From what they understood, they had little to fear for themselves in the time being, but they also didn't condemn the Expanse's posture about keeping their distance of it, lest they did not cross humanity.

The exchanges between the Chelok Empire and the Hoku Expanse marked the end of the golden stellar era, and the start of the lower stellar era.

LOWER STELLAR ERA

In 1739 SE, an Expanse expedition mission stumbled on another silent civilization around their north celestial hemisphere. The Nan-Nan of Anaya. A world just shy of 25 light-years from the Expanse colony of Voliloshoku. A race of stout water-adjacent reptilians, highly empathetic, idealistic and curious beings, just getting the hang of launching their first satellites. Peacefully integrated them into the Expanse via various technology trade accords. A significant fraction of Nan-Nan now lives in multiple hoku worlds and trade routes.

It had been almost a thousand years since their meeting with the Chelok.

During a uneventful winter night of 1977 SE, a strange object pierced the comet cloud of the Muhori system at a hyperbolic trajectory.

Ground telescopes looking for comets spotted a very long streak registered across multiple photographic plates worldwide that night. The conclusion, given the light signature and how long the streak appeared compared to the exposure time of the plates... An unknown artificial object traveling close to 8% of the speed of light. It was not fast enough to be considered a relativistic missile heading into their direction, it was not large enough to be compared to anything they knew about starship building, too small for a crewed vessel. Its trajectory vector indicated the rough direction in the sky as the origin point of the Somoga Event, a millenium and a half prior.

Local authorities kept the existence of this object hidden and hoped to study it in complete secrecy. It wouldn't be long before someone spotted a 752 meter hunk of extraterrestrial metal hurdling through their star system - it had already been a miracle it passed nearly unnoticed in its flyby through the system, estimated to become beyond range in little over six months.

With vetoed access to the use of said telescopes at certain intervals of the following weeks, the Expanse Navy managed to send a rendezvouz mission with the foreign object, nicknamed Kooratalil - in classic sidessian mythology, the great serpent that guards the gates of the Underworld. Images from the robotic probe revealed it be a fragment of a presumed larger object, like the lower deck of a starship. It spotted what it seems to be part of an engine module, damaged antimatter storage units, and a bundle of 2-ton ballistic ammunition of an unknown composition. No crew in sight, and barely enough samples in the cloud of dust and debris to make out any organic composition of whatever was inside the ship at the time of its fragmentation.

The derelict continued its flyby through the Muhori system mostly undisturbed as the probe decoupled and launched itself in a four-year return orbit... Until the crew of the Pearly Tear IV, a comet-mining vessel doing routine harvesting of Muhori's comet cloud, spotted a head-on collision of said object with a small asteroid. An event that was just the beginning of a very dramatic series of events.

Actually going up to investigate said relativistic object, the crew of the Pearly Tear IV started to register and stream their process of interception, coupling, and exploration of the derelict ship, hoping to be rewarded for their discovery. They hooked their ship's power supply to the thing, and upon trying to jumpstart it, the derelict screamed into the void with a distress signal, the 'ping' was brief, but it was already too late. Upon meeting up with the Expanse authorities, the crew of the Pearly Tear IV was trialed and summarily sentenced to execution for high treason in situ by the navy.

"THE PING"

... As the event would come to later be called by the public was a day of panic worldwide, for centuries the consensus was that the we were safe for as long as they kept moving away from the Dominion, and now that the Ping was sent, it was only a matter of a century or two before They showed up inside the Hoku Expanse. Although the panic was quickly settled out by the authorities, various commands and investments were issued in further developing weapons and combat ships for a possible disastrous first contact with the races of the Dominion, this Lower Stellar Era had its development focusing on faster and smaller maneuverable starships, energy-based and relativistic weapons.

The intent of miniaturizing combat-able ships and starships was to ease in the manufacturing effort and the formation of potential resistance militias across Hoku space. This wasn't much of a problem due the common traditions of the spacefaring peoples, there was no shortage of work and technological niche opportunities in the industry, and the time for the outsider's arrival had been set into the foreseeable future, thus infighting almost completely ceased.

Soon enough, many of the hoku born into the LSE were enrolled into local militias, interstellar patrol groups and radar stations across known space, waiting for the Dominion to respond to the ping.

The Chelok at their nearby homeworld of Dhéģhōm were the first to detect the ping some 50 years later, and immediately frowned upon the trading with us, because they were bringing the Dominion closer to them and such an encounter could have unpleasant consequences.

At the time being, the south polar star of Auot'zae, Kuoosate'zapa (or Forzai, by its arrene name) was the nearest Dominion system and the first to respond the Ping. The message took 78 years to reach Forzai, a decade-long discussion resulted into an escorted First Contact fleet with ten vessels. Which weren't noticed until their decelleration plume shone at the edge of the comet cloud like a nova directed at them.

THE HOKU JOIN THE DOMINION

It was then, in 2239 SE, that the Dominion revealed themselves to the Hoku, not as a monolith. But as multi-race 'colaborative framework'. Chelok members, the Ygiv, a few Saffi, the Arrene, and ONE Qire science officer.

They refuse to elaborate on the nature of the events that created the Somoga Event, testimonies are hard to cross - but they do make it clear it was not going to happen ever again.

The Dominion has plenty of space and resources for both civilizations thousands of times over, there was nothing the we personally had that was of interest to them, except our known biospheres, which as arguably non-negotiable given the scale of the Arrene force. Private groups however had great interest in trading and learning the ways of the hoku to sell their culture and artifacts as novelties back in the Dominion's capital worlds.

Many Hoku, mainly as researchers, opted for returning with the diplomatic fleet to the heart of the Dominion to learn more and establish a viable pacific presence within, in such a way as to have a representative seat within the community. This was quite a historic moment for both parties, for the arrene, it would be a chance to start pacific relations from the start with a new race. Given the first encounters with the Chelok and Qire were pretty disastrous, not to speak from the outright oppressive way they colonized the Yigiv people before they became a spacefaring civilization as preemptive action.

The Hoku are considered to have joined as soon as the diplomatic fleet knocked at their doorstep, although bureocracy held that a few decades to be effected. Shortly followed by the Nan-Nan, a century after. Though more like an alternate arm of the Dominion, a distant neighbor state rather than part of it, nonetheless given the power and technological disparity, many saw the relationship as a creeping assimilation. It was not without reason, the hoku had clear motives to gulp, being under a Qire Duke's command at times.

DOMINION ERA

With a population of 40 billion at the time, the Hoku Expanse had no shortage of work to be done, though many repetitive tasks were acomplished by machinery, we were reaching a near post-scarcity societal stage, with very few places struggling with obtaining sustenance or resources and only for a lack of heavy equipment, since the off-world colonies needed vast amounts of supplies and tech coming from the core worlds in order the keep productivity and growth rate. The terrible weather and acessibility meant many of those colonies would make it cheaper to manufacture machinery in nearby asteroids, moons, or simply import it from the Dominion's merchant flocks and scout ships. So while the core worlds and capital colonies across the Expanse concentrated the Hoku tech and prowess, the Dominion basically taught colonists how to survive in those extreme environments in which the we were just barely able to settle, given the greater reliability in delivery times by the faster Arrene and Qire ships.

Because of the political reasons behind the expanse, colonies never had any necessity of rebel against the Hoku domain because they weren't really being pressured to produce any goods, their only goal was to be there as a backup in case of catastrophic fail of mainland society, of course, from time to time, companies, private groups, and the navy would bring new technology, goals, and gratifications to the most succesful settlements. Over time, several moon, belter, and farmer colonies were simply abandoned by succeeding generations, because of lack of greater opportunity and goals, with populations migrating towards the core worlds and even venturing into the dominion.

Though the Expanse did not posess any goods that peaked further interest within the Dominion, apart from the occasional novelties, the paved starlanes were still of importance for Dominion scouts and researchers because it signified safe paths to reaching further regions of space of particular interest like nebulae and potentially habitable star systems, without risking slow and dangerous trips across the frontier. Allowing them to remain close to civilization in case of emergencies while they venture into uncharted space.

This state of peace lasted 1000 Chelok-years, and were recorded as one of the most prosperous periods in Hoku history. A period before the 'Unrelenting Force' came upon us...

SCIENCE&ARTWORK | HOKU ARCHEOLOGIST ON CHELOK PEOPLE | PART 2

OBSERVATIONS BY A HOKU ON CHELOK PECULIARITIES IN DHEGО̄M

PART 2 — NORTHERN SITE D-24

By Jaqehura Fadasa (a.k.a. Verdant Hilltop)
Former Archaeologist, Voliloshoku Academy of Xenoarchaeology (defunct)
Note: Time and space units translated to common measures

The canyon region alone hosts roughly 33 archaeological sites, each one believed to have once been a Chelok settlement. Dheghо̄m, settled by a group of stellar nomads—whom the Chelok refer to as starpeople—has been inhabited and abandoned repeatedly over the course of at least fifteen thousand years. Historical theory posits that the great Chelok expanse endured multiple technological dark ages, during which they rediscovered spacefaring civilization no less than five times within what is now the Dominion. This vast canyon, it turns out, has served as the cradle for Chelok habitation for much of that time. Though the inhabitants changed with each iteration, all of these sites represent different attempts by the Chelok to establish a permanent civilization here on Dheghо̄m.

[missing map]

Northern Site D-24 holds a unique place among Dhegо̄m’s historical sites, dated to approximately 15,200 years old, making it a focal point for pilgrimages by various starpeople communities from across neighboring regions. Despite the outward simplicity of its monolithic structures, these were no primitive relics. They were crafted by an industrialized civilization that may well have rivaled the technology of today’s Arrene.

One of the site’s striking features is its persistent radiation—3.1415926535898 times the global background radiation levels, due to the canyon’s topsoil, which is interwoven with uranium, thorium, and magnesium in ultra-fine 54-55nm spherules. The megaliths themselves were hewn from the siliceous rock flanking the canyon, likely positioned with sky-cranes, and show clear signs of advanced engineering. Though erosion has rounded their tops, the bases still reveal screw holes and drill marks detectable on scans. Evidence suggests this site served as a grand memorial, a bold “we were here, and we were powerful” statement from one generation of Chelok to another—inscribed in stone for any future civilization capable of uncovering it.

From a high vantage point, Northern Site D-24 appears to form a lithograph of a stellar system that closely resembles Soh's but with subtle discrepancies—most notably, an outer planet is missing, and the moons orbiting the homeworld are smaller than Dhegо̄m’s own. This may be a stylistic choice, or it could signify something more specific. Interestingly, the nearby Northern Site D-23 is thought to complement D-24 due to historical references by stellar nomads and smaller archaeological finds, which describe a monument once capable of pointing directly to their “true homeworld” during the vernal equinox. However, this directional structure seems to have been deliberately dismantled between 6,500 and 6,600 years ago, with no traceable fragments left for modern-day reconstruction.

While mainstream researchers believe Site D-23 was likely quarried for building materials during one of Dhegо̄m’s subsequent resettlement periods, some alternative theorists propose that the structure was erased intentionally to prevent its knowledge from resurfacing. These theorists suggest a coordinated effort to suppress or obscure the Chelok's origins, either to contain the memory or to protect it from dangers embedded in their distant past. Yet, as they often note, their hypothesis hinges on a “lack of evidence” countering their ideas, drawing skepticism. More widely accepted theories instead highlight that numerous stone blocks found at collapsed nearby sites appear to have been relocated from Site D-23, pointing toward more practical uses in the wake of another civilization’s rise and fall. In summary, the archeological site was likely quarried for its stone by the settlers, nothing short of unfortunate, but ordinary nonetheless.

[missing image]

The megaliths at D-24, though ancient, display an astounding array of design and purpose, revealing a meticulousness and ambition rarely preserved in sites of such age. The stones themselves fall into four distinct classes, each carrying a silent testament to the times and minds that shaped them. Dated to astonishingly different eras—4, 7, 8, 14, and even as far back as 15,200 years ago—they seem to form a very interesting collection of snapshots into the Chelok civilization.

These classes—Giant, Tall, Medium, and Small—are defined by their sheer scale. The Giant stones, towering nearly 30 meters into the air, create an imposing presence, evoking reverence even after millennia. The Tall stones, at a more moderate but still impressive 15 meters, stand with a dignity and strength, as if guardians of the plaza. The Medium stones, while comparatively humble at 5 meters, exhibit more intricate details, inviting viewers closer. And then, there are the Small stones, at just 3 meters, which almost feel intimate by comparison, their details rich yet accessible, intended for a more personal, perhaps ritualistic, engagement.

The design of these megaliths is no less remarkable. From the height and depth of the carvings on their surfaces, it’s clear the Chelok crafted them with a singular intention: to endure. Calculations suggest that these stones were made to withstand the relentless erosion and weathering cycles of Dhegо̄m for roughly a million years before succumbing to any notable loss of detail. This level of foresight—projecting a span of time longer than most civilizations can fathom—speaks to an astonishing dedication, a desire to preserve their legacy almost indefinitely.

Among the stones, the third and fourth of the Tall class in the central plaza are particularly captivating. These stones are not merely carved but also adorned with vivid, if faded, paintings. Petroglyphs wind across their surfaces, intricate and mysterious, while ancient pigments still cling to the stone, hinting at the colors that once leapt from their surfaces. From afar, they stand as monoliths, resolute; up close, they reveal a world in miniature—a tapestry of symbols, figures, and possibly maps. Each stroke and etching suggests scenes of life, conflict, celebration, and perhaps warnings, frozen in time.

PAINTINGS AT SITE D-24

The paintings at Site D-24 tell an intimate story of the Chelok people—an intersection of reverence, heritage, and identity layered over millennia. As we camped in the open canyon under the starlit sky, our guide, Naahum Il-gharib from the UAS, lectured with an almost reverent tone about the nature and origins of these markings. The paintings, he explained, possess trace ratios of radioactive isotopes specific to this region, simplifying their radiometric dating. Remarkably, these paintings date back to the earliest days of the site’s construction and span nearly two and a half millennia, suggesting that successive generations continued to return, adding to this visual archive for seven thousand years following the establishment of Site D-23.

Most of the paintings consist of stenciled handprints in black, white, or red, made with natural pigments sourced from the canyon itself. Given the sheer number of stencils, coupled with their ages and the size of ancient settlements in the surrounding area, it’s believed that these imprints were a reserved honor—granted only to leaders and prominent figures throughout Chelok history. Each pigment color is thought to denote different classes, and each face of the square-based megaliths holds an astonishing array of around 5,000 individual stencils. The handprints cluster most densely on three notable stones—Ard, Mars, and Tyte. Positioned among the Tall stones, these megaliths symbolize celestial bodies: Ard and Mars are believed to represent the third and fourth planets, respectively, while Tyte is thought to symbolize the sixth planet's moon. This symbolism only intensifies the significance of these imprints, suggesting that the Chelok not only venerated their leaders but also saw them as intrinsically connected to the stars.

The image of the handprint became so powerful within Chelok culture that it eventually transcended the canyon walls, immortalized on the banners of both the local government and the naval force of the Chelok Empire. Their symbol, a white handprint on a red field, became something unmistakably theirs—a mark that, to this day, only a Chelok could authentically reproduce.

Beyond the planetary stones, the Star stones add an even more celestial layer to this story. Standing apart from the central plaza, these 17 tall stones bear carvings and paintings that depict distant star systems. Six of these star systems have been identified as locations within the Dominion, corresponding to current Qire and Arrene colonies. If the planetary stones serve as cosmic signposts, then the Star stones may be considered a form of interstellar greeting—a gesture left behind for other branches of the Chelok’s civilization to find. The implication is that the builders of this site foresaw a time when descendants, scattered across the stars, might one day return. And return they did, with countless pilgrimages spanning ages, each visitor perhaps adding another layer to this enduring testament of connection.

PETROGLYPHS AT SITE D-24

The Soh stone—vast, central, and singular—dominates the plaza of Site D-24, resting on its side as though eternally positioned to capture the gaze of all who gather there. It is the largest and most significant stone in the site, its name derived from an ancient, nearly forgotten proto-language that serves as the linguistic root for nearly all Chelok tongues. The term "Soh" is elusive in its meaning; it signifies either "sun" or "king star," depending on regional interpretations. The word itself carries a resonance of reverence, emblematic of celestial importance and centrality—concepts that hold profound cultural weight across Chelok civilization.

The Soh stone is unique not just for its size but for the narratives meticulously etched into its surface, depicting epochs in Chelok history. Only the more recent carvings have been translated successfully, with efforts contributed by local scholars and stellar nomads from surrounding systems. The text is complex and deeply symbolic, blending imagery and language in ways that still challenge interpreters today. Despite these challenges, scholars have identified three principal narratives within its ancient walls: the Builder, Refugee, and Starpeople texts. Each narrative is interwoven with the others, capturing distinct yet connected eras and mindsets that shaped Chelok civilization.

BUILDER TEXTS

We, the pioneers of the cosmos, stood upon Mars' red sands with hearts full of hope and eyes fixed upon the heavens. Our civilization, born from the dust of a barren world, dared to dream of a future among the stars.

Our civilization flourished, reaching ever outward, carving our mark upon the stars. But as our journey unfolded, we came to realize the profound uniqueness of our existence. Yet, we were not content to remain isolated. With every breath, every heartbeat, we yearned to reach out, to explore, to discover. The universe beckoned to us, promising untold wonders and mysteries waiting to be unraveled.

In our solitude, we found solace in the possibility of connection, in the hope that others might one day walk among the ruins of our legacy. Here, at this sacred site, we erect monuments to our ingenuity and ambition. We imagine a future where our descendants shall inherit the stars, carrying with them the torch of knowledge and enlightenment.

And so, with hearts heavy with the weight of time, we extend our invitation to all who dare to seek the truth, to all who yearn to unravel the mysteries of the universe. Come, wanderers, come and bear witness to our story, to our triumphs and our tribulations. Come, and marvel yourselves, be with our hubris, or our greatness.

The Builder text, positioned north of the central Soh stone and protected somewhat from erosion by the canyon wall, is one of the most ancient writings at Site D-24, and likely one of the first in the region. The Builder Culture as it has been creatively named probably lasted between 1000 to 1500 years based on the evidence for chelok activity in the region of the period, showing a steep decline towards the end of that timespan, in some more distant sites, there are remains of moderately populated settlements up to 2000 years after that.

Unlike the other narratives, which are etched directly onto the central megalith, the Builder text occupies a humbler but strategically sheltered location, though it has suffered deliberate defacement over time.

The language used in this text is believed to be an ancestral form that shares roots with many of the Dominion’s oldest Chelok dialects. Scholars speculate that it might have originally included spatial coordinates, likely pointing toward the builders’ homeworld, but these references were vandalized long ago, potentially even before the Ars stone's destruction.

In addition to the historical narrative, a "scientific wall" adjacent to the text outlines the early technological breakthroughs that made interstellar travel possible. This section includes complex equations and propulsion schematics, revealing that the builders had already conceptualized element-124, a rare substance key to achieving the prolonged interstellar propulsion now foundational to Chelok society. 

There is a cultural and genetic gap however between the inhabitants of the region that might relate to this period. The lineages of some chelok appear to diverge roughly thirteen thousand years ago, evidence of a sudden radiation event or arrival of the first starpeople, which lead to the initial mixing between the populations and thus the sudden variability in the records. It is safe to say however, due the nature of the artifacts and settlements over time, that this civilization had entered a regressed state far before these visitors entered the scene. Perhaps deliberately regressed to a hunter-gatherer status due their philosophy at the time, or needs, or because of societal collapse.

REFUGEE TEXTS

Amidst the shattered remnants of a once-proud civilization, we stand in silent reverence, our hearts heavy with the weight of tragedy. From the ashes of our homeworld, Ars, we emerged, a society crippled by the horrors of our own making. We do not speak of ourselves in grandiose terms, for we are but the last vestiges of a bygone era, a shadow of what once was. We humble in the face of our mistake, followoing the footsteps of those who came before these ancient masters.

Our people, once warriors of unmatched prowess, now cower in the face of an unfathomable evil. It struck so abruptly, that we dismissed these whispers as mere superstition, the ravings of madmen. But as the shadows grew longer and the stars dimmed, we could no longer deny the truth.

In our despair, we etch these words upon the stones of our final bastion, a message to those who may come after us. Here, we lay down our arms and ironworks of war, for what good are they, when what we fight against turns them against us?

Beware of those who would wield the animate ironworks, for they are the harbingers of the Swarm. They speak like men, think like men, but their bodies and souls are bound to the machines they command. Do not marvel at their ways, for they will lead you to ruin. The Swarm is the embodiment of our sins, a punishment for our arrogance and folly. It shows no mercy, consuming all in its path.

Strive to return to the old ways, to return to the earth as we once were and live off the land as it is. Embrace simplicity, humility, and harmony with nature, for it is in these virtues that true salvation lies.

The text advises future generations to beware of the animate "ironworks"—machines whose souls and bodies are intertwined, agents of the Swarm, a recurring character and motif in Chelok culture, a horrific force that represents the Chelok's greatest sin, living machines. Quite likely an earlier form of the Spark Veto. The refugees urge a return to simpler, more harmonious ways of life, emphasizing the need for balance with nature as the only path to salvation.

Archaeological evidence around the canyon aligns with this narrative. The region is littered with the remnants decommissioned starships, complex farming equipment, and an overwhelming number of buried and cemented nuclear weapons. Strikingly, the area contains five times the mass destruction weaponry found across the modern stockpiles of the entire continent, luckily, most of it is now corroded by time. Over ten thousand years after the texts were written, the genetic trace of these refugees remains, their once-grand civilization now a distant memory, preserved only in the stone warnings they left behind.

STARPEOPLE CARVINGS

The Starpeople carvings present a much different character compared to the solemn warnings of the Refugee and Builder texts. Instead of grand histories or somber cautions, the Starpeople inscriptions are, in a sense, a cosmic guestbook—a record of celestial phenomena, personal graffiti, and the pride of distant travelers marking their journeys through the stars. They include annotations of comet sightings, records of eclipses, and detailed carvings of distant star systems, likely depicting the homeworlds of the visitors who left their marks here. Many are nothing more than variations of “I was here,” an enduring reminder that for these travelers, this was both a sacred site and a waypoint on the interstellar road.

Yet not all of these inscriptions remain intact. Many of the "pointing stones" that may have once oriented visitors toward specific stars or planetary systems were deliberately defaced. It’s unclear what was lost in these erasures, but some scholars suspect these symbols referenced the Cradle—how the Starpeople referred to their homeworld in their ancient spiritual texts. The Cradle holds deep cultural and religious significance, symbolizing the origin of life and civilization, an almost mythic homeland that the Starpeople sought to honor on their travels. The partial destruction of these markers remains one of the site's mysteries, perhaps an act of purposeful erasure, or perhaps a reminder of a tragic event now forgotten.

The Starpeople Texts thus offer a glimpse of a proud, wandering civilization that once passed through this region in great numbers, using this sacred site as a temporary link to their distant origins, in the absence of the means or directions to Ard (note that it is extremely impolite to utter the name of the sacred land outside of religious or historical duties). Where the other texts speak to continuity and preservation, the Starpeople inscriptions evoke impermanence and the transitory nature of connection.

[missing image]

The archaeological site at D-24 stands as a monumental testament to the complex interplay of civilizations across eons, each leaving their mark in stone and memory. The Builder texts reveal the audacious ambition of pioneers reaching for the stars, the Refugee texts speak to a fall from grace and a desperate return to simpler, more harmonious ways, while the Starpeople inscriptions whisper of a nomadic past, reverent yet fleeting. Together, these layers of history intertwine, offering a rare glimpse into the philosophical and spiritual underpinnings of long-lost cultures. With the technicalities of radiometric dating and artifact preservation now resolved, the team stands on the brink of a new chapter in excavation. Preparations are underway to carefully document and analyze the remaining inscriptions, assess the deteriorating structures, and uncover any further secrets the canyon holds. With each step, they move closer to understanding the true significance of this site, not only as a physical location but as a profound intersection of cosmic histories, urging them to explore the profound connections between these lost peoples and the far-reaching legacy they left behind.

- M.O. Valent, 14/11/2024

THE HOKU | HUKAT MYTHOS

THE BEGINNING

In the unfathomable expanse of the void, where time and space were yet unborn, there existed only the cold, lifeless abyss. It was here that Koxazat sparked the first flame. This fire was not a gentle warmth but a searing, blinding brilliance that tore through the endless darkness.

From this fiery maelstrom emerged Paza, the Greater Light, radiant and fierce. Her presence illuminated the void, and her brilliance terrified Koxazat. Consumed by envy and fear, he sought to extinguish her, plunging his primordial claws into her radiant form.

But as Paza's celestial body shattered, it gave birth to Ho-Paza, the Greater Sun, and Unenja, the Lesser Sun. Their light dimmed in comparison to Paza's, but their existence was a testament to her enduring power. Her fragmented body scattered like cosmic dust, birthing the myriad of stars that would fill the void.

Koxazat sent Ho-Paza and Unenja into the distant reaches of the cosmos, away from his domain. Left alone with the twinkling stars, he reveled in the cold, distant light, relishing their whispers that affirmed his supremacy.

Koxazat embodies is the ceaseless river of time, an unending flow that carves and erodes all in its path, the etching and erasure of history in the stones of oblivion. It manifests in the decay and disintegration of all things, turning vibrant civilizations into desolate ruins, and lush landscapes into arid, windswept deserts. It is not a deity to be revered or antagonized, but a primordial force to be accepted with trembling submission. It is said to be most present in the howling tops of everlasting mountain ranges, in the aridest deserts, and in canyons carved by ancient rivers. Being represented by visions of ruins, rivers, or mountains in the motifs it appears.

THE WORLD

As Ho-Paza and Unenja journeyed through the void, their radiant presence stirred jealousy among the stars. The stars, fueled by resentment, united their luminous forces to assail Unenja, the Lesser Sun.

Their relentless onslaught marred her once-glorious radiance, casting her in a perpetual crimson hue, a reminder of the wounds inflicted upon her. Yet, despite the stars' cruelty, Unenja clung fiercely to the precious gift Ho-Paza had bestowed upon her: a perfectly round lustrous orb.

In her determination to protect the orb, Unenja's fiery hands inadvertently shaped the contours of this cosmic sphere. Her tears, shed in agony and defiance, cascaded onto the orb's surface, giving birth to the vast oceans. From these watery depths emerged the first life forms, emerging from the muddy waters as grotesque and mysterious creatures, forever influenced by her suffering and trauma.

Household figures of Unenja (left) and Ho-Paza (right) from the Early Hukat Empire

whole collection dates approx. 6000 BFH

THE SOLAR CROSS

The greater sun, symbolizing enlightenment and creation, is a central theme in their art and philosophy. It represents the source of knowledge and the creative spark that fuels their civilization's growth.

The lesser sun, embodying the concept of lifeforce, holds significant importance in Hukat culture. It signifies vitality, sustenance, and the essence of life itself. This motif is prevalent in their daily rituals and artwork, emphasizing the importance of vitality in their society.

The imperial seal and flags of the ancient Hukat Empire prominently feature a variant of what humans would recognize as the Solar Cross symbol. Their imperial flag is a regal blue with a golden solar cross right in the center, serving as a symbol of their cultural identity and imperial might. To signify year-round prosperity, a smaller red sun is added to the golden cross, underscoring their commitment to abundance and well-being - the superposed suns are a common sight across the world as they orbit each other, and the Hukat were quick to incorporate it as if the sky itself was their flag. The Hukat Bisolar Cross continued to be utilized across the ages as a symbol of power and prosperity until it was ultimately supplanted by the Expanse Lotus, way into the Stellar Era.

THE GUARDIANS

To safeguard her sister and the nascent world from the ever-watchful and envious stars, Ho-Paza forged the Five Guardians:

Bagede, the God of Trickery and Deception

Figure of Bagede, the inscription is the attribute "magic"

In the celestial hierarchy of the Hukat mythology, Bagede occupies a unique and mischievous position. He was conceived by Paza as a simple and innocent idea to serve as a youthful and obedient guardian in the sky realm. However, what emerged was far from obedient. Bagede's essence brimmed with boundless energy, unbridled ingenuity, and an insatiable penchant for mischief. He became the celestial trickster, a joker whose antics could rival the most audacious of mortal pranksters.

Bagede's playful nature proved invaluable in the battle against the envious stars. His ability to outwit and confound the celestial bodies played a vital role in capturing and neutralizing their malevolent influence. However, when he wasn't on duty, Bagede's antics reverberated through the heavens. His laughter echoed like thunder, and his pranks disrupted the tranquility of the celestial realm.

To further amplify their trickery, Bagede often collaborated with Kotixera, the Hunter and Crafter Goddess. Together, they devised ingenious contraptions and elaborate schemes to trick not only celestial beings but also mortals. Mortals who found themselves ensnared in their devious traps often emerged forever changed, their fates intertwined with the malevolent whims of these two divine tricksters.

Bagede's domain extended beyond mere trickery. He held sway over the realm of self-entitlement, where individuals believed they were entitled to more than they deserved. He thrived on chaos and reveled in the inexplicable accidents that defied all rational explanations. When disaster struck against all odds, it was often seen as the handiwork of Bagede, the capricious deity who found amusement in the unpredictable.

Bagede was a deity of duality. He could assume the form of a mischievous, winged teenage figure adorned with numerous collars, piercings, and bracelets. However, at times, he revealed himself as an old man with the same youthful adornments, a testament to his status as the first god and the embodiment of time's ceaseless passage.

Ovigeza, the God of Lightning, Fire, Messengers, and Archers

Figure of Ovigeza, the inscription is the attribute "lightning"

Born as the second son of the radiant Paza, Ovigeza's essence was forged in the crucible of celestial power. He emerged as a warrior god, tasked with a solemn duty: protecting the Earth realm from the relentless onslaught of the stars. In his early days, he wielded the tempest's fury, conjuring storms and snatching bolts of lightning from the heavens to spear the stars that dared to draw near.

Ovigeza's prowess grew with time, and his sister, the ingenious Kotixera, gifted him a silver bow of divine craftsmanship. This silver bow allowed him to efficiently channel his lightning, transforming it into precise, deadly bolts. It was said that the thunder that followed each lightning strike was the celestial sound of stars shattering above the clouds. Ovigeza possessed superhuman sight and agility, his movements matching the speed of his own arrows, second only to the swift antics of the firstborn god, Bagede. His demeanor was serious and dutiful, reflecting his dedication to his sacred duty.

However, Ovigeza's steadfast nature found its counterpoint in the goddess Namenza, the embodiment of bountifulness. In her presence, his stern facade softened, revealing a sweeter aspect of his character. Their companionship was a rare respite from the relentless war against the stars, her presence masks the true extent of his malevolence, as she encourages him to lower his guard and manipulate others to serve their joint interests.

Ovigeza occupies a unique position within the Hukat pantheon as the sole bridge between mortals and the enigmatic will of Ho-Paza, the Greater Light. He is the messenger who conveys Ho-Paza's divine decrees to the other gods, granting him unparalleled insight into her intentions, bounding these divine messages into arrows, allowing them to traverse the boundaries between realms without his having to descend into the underworld. Yet, even he cannot always grasp the full scope of Ho-Paza's wisdom.

At times, Ovigeza acts with unwavering faith in Ho-Paza's will, even when her instructions are shrouded in ambiguity. His devotion to the Greater Light is unwavering, and he carries out her commands with a fervor that borders on fanaticism. This unyielding commitment to Ho-Paza's cause often places him at odds with the other gods and even challenges his own sense of morality.

Namenza, the Goddess of Bountifulness, Fertility, Seasons, and Fortune Telling

Figure of Namenza, the inscription is the attribute "life"

Namenza, a radiant and vital deity within the Hukat pantheon, is celebrated as the embodiment of life's abundant blessings. Her divine sphere of influence encompasses bountifulness, fertility, the changing of seasons, and the mystical art of fortune-telling. In the grand tapestry of the Hukat mythology, Namenza stands as a beacon of hope and prosperity, adored by mortals for her gifts of plenty.

Depicted as a tall and fit woman accompanied by the two suns and a tree, Namenza's appearance mirrors the lush and fertile nature she governs. Her long hair is a cascade of herbs and ferns, sometimes serving as a cloak to cover her nudity, symbolizing the intertwining of life and the natural world. Her attire varies, at times adorned in a simple farmer's cloak and, at others, revealed in all her divine glory.

Namenza carries a basket brimming with pristine fruits, a testament to her abundant blessings and the sustenance she bestows upon the earth. In her other hand, she holds a solar clock, a symbol of her dominion over the cycles of the seasons and the passage of time.

Namenza's presence is celebrated during planting and harvest festivals, where her divine favor is sought to ensure bountiful yields and prosperous seasons. Farmers and cultivators offer prayers and offerings to her, beseeching her to bestow fertility upon their lands and to bless their efforts with abundance. Her role in the Hukat pantheon is pivotal in ensuring the survival and prosperity of the mortal realm.

In the depths of the Hukat mythology, there exist tales of improper cults dedicated to Namenza, where her worshipers sought to manipulate her powers for personal gain. These cults engaged in forbidden rituals and twisted forms of fortune-telling, attempting to control the forces of nature and fate.

The consequences of such improper devotion to Namenza were dire. Plagues and curses would befall those who strayed from the righteous path, as the goddess's wrath manifested in the form of famine, disease, and misfortune, and sometimes, this destruction was the aim of such rituals.

Kotixera, the Goddess of Knowledge, Crafts, Hunt, and War

Figure of Kotixera, the inscription is the attribute "craft"

Kotixera is a multifaceted deity, her divine influence extending over a vast array of domains. She is the embodiment of knowledge, arts, crafts, the hunt, and the grim specter of war. Her role in the Hukat mythology is characterized by her inventive spirit and unwavering dedication to empowering mortals with the tools they need to thrive and, when necessary, to defend themselves.

In the mythological epochs of old, Kotixera actively engaged with the mortal world, serving as a direct conduit between the divine and the mundane. She imparted essential knowledge to mortals, instructing them in the delicate art of weaving baskets and fabrics, guiding them to unearth precious pigments and metals from the Earth, and teaching them the secrets of working these valuable resources. Her teachings paved the way for hoku civilization to flourish, as her inventions and craftsmanship elevated mortals to new heights of achievement.

Throughout history, Kotixera and her many mortal incarnations have played pivotal roles in shaping the destiny of nations. She heeded the commands of Paza and Ovigeza, carrying out their divine will. Under her guidance, empires rose and fell, and civilizations thrived and crumbled, all in accordance with the celestial mandates bestowed upon her.

Kotixera's inventive genius knows no bounds. She is the divine artisan behind a multitude of creations, both practical and artistic. Her craftsmanship extends to crafting potent war machinery, such as Ovigeza's bow and quill, Nuheza's trident, and the tools of war used by ancient Hoku warriors. Her portfolio of inventions also includes fundamental innovations like the wheel, the pulley, and the screw, which revolutionized the mortal world's capacity to manipulate and shape their environment.

Kotixera's dedication to the success of her creations in the field of war often places her in an amoral position. She cares more about the efficacy of her war machinery than the consequences of their use. This pragmatic approach to conflict has earned her the reverence of the ancient Hoku military establishment, who see her as a relentless advocate for their success on the battlefield.

Kotixera's creative spirit finds harmony with her energetic and mischievous older brother, Bagede. Together, they form a dynamic duo, crafting trinkets and traps for him to use in his pranks on mortals and fellow gods. Their playful collaboration is a testament to the multifaceted nature of the divine, where serious undertakings and moments of mirth can coexist.

Udeqera, the Queen of the Underworld

Figure of Udequera, the inscription is the attribute "death"

Udeqera, the enigmatic deity of death, possesses a haunting and mysterious visage. She is often depicted as a figure cloaked in a shroud adorned with a multitude of eyes and hungry mouths. These grotesque orifices serve as her sensory organs, allowing her to perceive the realms beyond sight. In some representations, her scarred and mutilated body is unveiled, a testament to the relentless passage of time and the scars of existence.

Udeqera is never alone in her realm, for she is accompanied by a cadre of nightmarish entities known as the Furies. These horrors embody the darkest aspects of humanity: fear, murder, terror, hunger, greed, and fury, among others. They are her beloved and loyal pets, extensions of her essence and will. It is said that they whisper dreadful truths into the ears of those who venture into the underworld, revealing the unvarnished consequences of their actions in life.

Despite her fearsome appearance and the menacing presence of the Furies, Udeqera's true purpose is not to torment mortals but to guide them through the labyrinthine journey of life and death. She watches over fallen soldiers, weary laborers, and all who find themselves in the liminal space between life and eternity. These souls await the judgment of Koxazat, the god of Time, on the fateful day of reckoning.

Udeqera is known for her profound silence. Her quiet demeanor hides a deep wisdom, and it is through her silence that she imparts her guidance to the souls under her care. Her goal is to ensure that mortals navigate the trials and tribulations of life without succumbing too heavily to the temptations and sins that feed the Furies. She seeks to lead souls toward a balanced existence, where neither excess nor negligence defines their journey.

???, the forgotten god of the Seas

In the annals of ancient Hukat culture, there exists a shadowy and enigmatic chapter dedicated to the worship of a nameless and forgotten deity. This eldritch god held dominion over the boundless oceans, the tempestuous storms that swept across the seas, and the fearsome sea monsters that lurked beneath the waves. Its presence in the early days of the Hukat empire is shrouded in mystery, and its existence has been meticulously erased from the tapestry of history.

The origins of this forgotten god are obscure, and it is widely believed to have hailed from foreign lands, possibly brought to the Hukat shores by intrepid explorers or seafaring traders. Its alien nature and association with oceanic forces set it apart from the native deities of the Hukat pantheon, making it an anomaly in the eyes of the established religious order.

As the Hukat empire grew in power and influence, the worship of this oceanic god faced increasing persecution. The Hukat society, with its aversion to deities possessing animal-like or animal-themed attributes, viewed the foreign cult with suspicion and disdain. The maritime prowess of the Hukat, which had once been a source of pride, became a point of contention as the cult's influence grew.

Fearing the destabilizing influence of this nameless god, the religious authorities of the Hukat empire launched a campaign to eradicate its worship. Temples were razed, artifacts destroyed, and followers persecuted. The cult of the forgotten god was systematically erased from the historical record, and its practices became whispers in the darkest corners of Hukat society.

What remains particularly curious is the complete obliteration of the memory of this deity, given the Hukat's renowned maritime prowess. One might expect the god of the oceans, storms, and sea monsters to hold a prominent place in their lore. Yet, it is as if this entity was expunged not only from the physical world but also from the collective memory of the Hukat people.

The neighboring seafaring civilization of Dahut had its own deity with a strikingly similar role. Dahut's sea deity was, in fact, the first god in their culture, emerging from the murky depths of the primordial seas. This god possessed dominion over the vast ocean and its myriad creatures. However, unlike the Hukat's forgotten deity, this god's influence extended far beyond the ocean's edge where it was responsible for ensuring good weather for crops and favorable conditions for seafaring ventures. This duality of influence made it a benevolent and essential figure in Dahut culture.

Often linked with arcane and ancient knowledge, holding the secrets of the tides, weather patterns, and the mysterious depths of the ocean, its eldritch nature rendered it inaccessible through common rituals performed by the average Dahut citizen. Instead, the blessings of this god could only be bestowed by specialized priests dedicated to its cult. These priests undertook rigorous training and rituals to commune with the deity and act as intermediaries between the god and the people.

The sea deity of Dahut was said to have two children with the earth goddess of their pantheon. One was a thunder god, and the other was a harvest goddess. Much like Ovigeza and Namenza in Hukat culture, the thunder god and the harvest goddess were initially separate entities but eventually fell in love with each other, creating a parallel dynamic between the divine siblings in both civilizations.

While the deity had no tangible imagery, its influence was felt in the symbolism and artistry of Dahut civilization. The oceanic motifs, representations of sea creatures, and depictions of bountiful harvests all served as reminders of the deity's benevolent presence and the vital role it played in the lives of the Dahut people.

It is possible that the existence of a similar deity in the neighboring Dahut culture influenced the Hukat's decision to erase their own sea god from their cultural memory. The absence of a visible deity with well-defined imagery in Dahut culture may have led the Hukat to abandon the concept of an invisible and elusive god in favor of deities with human-like attributes and imagery that could be more readily understood and represented in their art and rituals.

THE MOON

Figure of Nuheza, the inscription is the attribute "moon"

Nuheza's story is a rarity among moon deities, as he was once a mortal who ascended to godhood through his remarkable deeds and blind love. During the dawn of humanity, Nuheza, a strong and noble warrior of the ancient Hoku civilization, became enchanted by the beauty of Unenja, the great goddess of Earth and the Lesser Sun. This enchantment was ignited by a breathtaking sunset over the sea. In his love and admiration for Unenja, Nuheza prayed to her and offered his devotion.

Nuheza's love for Unenja was profound and sincere. His strength, granted by the goddess herself, was so impressive that the Hoku king considered stepping down from his throne to allow Nuheza to lead the civilization. However, Nuheza had a different aspiration. He sought to gather resources for a grand campaign, one that would earn him the privilege of marrying the Lesser Sun. The king readily accepted for this marriage was believed to rectify the ancient mistreatment of Unenja by the Hoku and the greater beasts of Earth.

The tale takes a poignant turn as Nuheza and his comrades journey to the underworld, a realm of the afterlife overseen by the enigmatic Udeqera. Here, the souls of those they protected in life are gathered, and the truth of their deeds is revealed. These mortals, despite being saved by Nuheza and his companions, were far from innocent. They harbored envy, and bitterness, engaged in deceitful acts, and even resorted to murder for power and status.

Udeqera, the keeper of the underworld, informs Nuheza that, while many souls will seek his wisdom at the gates of the underworld, they will be too blinded by their own knowledge to follow their hearts. They will suffer the same fate as Nuheza, trapped in the realm between the living and the dead. In a noble but misguided attempt to right the wrongs of his actions, Nuheza decides to free the souls of the underworld by slaying Kōratalil, a colossal serpent that guards the realm. After a fierce battle, Nuheza emerges victorious, but not without suffering significant injuries. He uses the serpent's carcass to create a bridge, allowing him and his comrades to escape the underworld.

However, Udeqera, who had been watching and listening to their journey through her many eyes and shadowy mantle, erupts in anger at Nuheza's actions. She cracks the ground around them and condemns him to exist in the world as a guide for souls, to witness the consequences of their actions like a ghostly observer. To avoid the same fate as Kōratalil, Nuheza is stripped of his sword and placed atop a mountain, where he must oversee the outcomes of the deeds of mortals.

Nuheza, now the watcher of the night and the guide during the day, eventually becomes the moon. He circles the world, guiding the souls of the departed as they embark on their journey through the afterlife. He asks the goddess Kotixera for a new weapon, and she fashions him a trident from the metallic horns of the serpent he had slain.

RELATIONSHIP WITH THE STARS & ANIMALS

In ancient Hukat culture, the interplay between astronomy and astrology gave rise to practices that were often viewed with suspicion and fear, earning them the label of "witchcraft." The Hukat people closely observed the movements of celestial bodies, believing that the stars held the secrets of fate and fortune. Astrologers, known as star-seekers, sought to decipher these celestial omens to predict future events, and their rituals often delved into the realms of the arcane.

Many of these practices involved the use of blood and psychedelic substances to commune with the stars and glimpse into the future. These rituals were shrouded in mystery and secrecy, with practitioners forming secretive cults dedicated to the pursuit of forbidden knowledge. The Hukat society viewed such practices with a mix of fascination and fear, as they believed that meddling with the cosmic forces had dire consequences. One notable individual from such cults was Hamanen Kalinen of Iekozadat (lived 5900 years before the Fall of Hokushoku) and his influence in the foundation of the Cult of the Sacred Circle - given this name for the recurring annular eclipse motif used as a symbol - his interest in the stars, however, was considered rather obscure, despite the genius of his methods and accuracy of predictions, his practices borderline what was considered witchcraft for the ancient Hukat religious doctrine, for this reason, few select students of his formed a secret society to practice astronomy and discuss other mathematical topics such as finances, with members of it later being chastised by the state.

The ancient Hukat's complex relationship with the heavens is reflected in their constellations. While some cultures might associate constellations with heroes or noble creatures, the Hukat's constellations often depicted fantastical monsters and stars associated with demons. These constellations were a testament to their belief that celestial forces were not to be trifled with and that stars held a dark and ominous power.

In the eyes of the Hukat people, the worship of anthropomorphic deities, whether they possessed animal characteristics or not, was considered severe heresy. The mythology of the Hukat dictates a history of conflict between wild animals and the Hoku, the mud creatures, after the creation of the world. This ancient enmity resulted in a deep-seated suspicion and unease between the two, and the Hukat people believed that creatures should be treated as such, not exalted as gods.

- M.O. Valent, 02/10/2023