Skrell Culture - Revision history

Beepbopbeepbop: kala redefine

2025-10-17T22:03:29Z

kala redefine

← Older revision		Revision as of 22:03, 17 October 2025
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	Created in '''2412 CE''', Homeworld: Invasion follows an alternative history timeline where instead of becoming allies, humanity instead decided to launch an all-out campaign against the Skrell. It features extranet multiplayer, extensive character creation, and psionic compatibility - the latter feature being similar to using a haptic feedback device. The singleplayer campaign revolves around the protagonist, a Tupkala agent, who is tasked with sabotaging the invasion force through daring one-man raids, intrigue, and stealth, before eventually joining the rest of the military and being on the frontline against the invasion forces. The player faces off against the 453rd Solarian Marine Regiment "Voidraiders", described in-game as "a ferocious horde of humanity's most bestial warriors". There are dozens of locations that can be played, from the frontiers of the Traverse or well-known locations such as Xrim and Tattuqig, to Aweiji or even the Homeworld the game is named after.		Created in '''2412 CE''', Homeworld: Invasion follows an alternative history timeline where instead of becoming allies, humanity instead decided to launch an all-out campaign against the Skrell. It features extranet multiplayer, extensive character creation, and psionic compatibility - the latter feature being similar to using a haptic feedback device. The singleplayer campaign revolves around the protagonist, a Tupkala agent, who is tasked with sabotaging the invasion force through daring one-man raids, intrigue, and stealth, before eventually joining the rest of the military and being on the frontline against the invasion forces. The player faces off against the 453rd Solarian Marine Regiment "Voidraiders", described in-game as "a ferocious horde of humanity's most bestial warriors". There are dozens of locations that can be played, from the frontiers of the Traverse or well-known locations such as Xrim and Tattuqig, to Aweiji or even the Homeworld the game is named after.

	There is a class system in which players can invest in-game currency to buy tiered perks, revolving around the main traits of the ~~Nlomkala~~, ~~Sromkala~~, ~~Ruupkala~~, and Qukala - or their equivalent agencies in the Solarian Alliance when playing as humanity in multiplayer. Each has its different strengths and weaknesses, and players are encouraged to swap between classes midgame as situations arise. In singleplayer, depending on how successful the player is in achieving their objectives, the invasion can either fail or succeed with the invasion's difficulty depending on how many objectives were completed and how. The multiplayer gamemode can last for multiple rounds as sides alternate between attacking or defending objectives before the main invasion.		There is a class system in which players can invest in-game currency to buy tiered perks, revolving around the main traits of the Qekala, Ruupkala, Tupkala, and Qukala - or their equivalent agencies in the Solarian Alliance when playing as humanity in multiplayer. Each has its different strengths and weaknesses, and players are encouraged to swap between classes midgame as situations arise. In singleplayer, depending on how successful the player is in achieving their objectives, the invasion can either fail or succeed with the invasion's difficulty depending on how many objectives were completed and how. The multiplayer gamemode can last for multiple rounds as sides alternate between attacking or defending objectives before the main invasion.

	It has received some criticisms due to its portrayal of humanity, and many have stated that it was in retaliation for [[Human Entertainment Media\|"Solarian Marines"]] and their crude depiction of Skrell.		It has received some criticisms due to its portrayal of humanity, and many have stated that it was in retaliation for [[Human Entertainment Media\|"Solarian Marines"]] and their crude depiction of Skrell.

Beepbopbeepbop: no scarcity stuff

2025-10-17T21:47:41Z

no scarcity stuff

← Older revision		Revision as of 21:47, 17 October 2025
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	~~{{Outdated (Phoron Scarcity)}}~~
	{{Navbox Lore}}		{{Navbox Lore}}
	{{Navbox Skrell Lore}}		{{Navbox Skrell Lore}}

Triogenix at 13:46, 16 August 2025

2025-08-16T13:46:45Z

← Older revision		Revision as of 13:46, 16 August 2025
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			{{Outdated (Phoron Scarcity)}}
	{{Navbox Lore}}		{{Navbox Lore}}
	{{Navbox Skrell Lore}}		{{Navbox Skrell Lore}}

Stripes: /* The Arts */ Fixed an error with header indentation

2025-04-18T02:43:01Z

The Arts: Fixed an error with header indentation

← Older revision		Revision as of 02:43, 18 April 2025
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	</div></div>		</div></div>

	===== <big>Synthetic Era Arts</big> =====		=== <big>Synthetic Era Arts</big> ===

	While the Synthetic Era of Skrell history is not known for its cultural entries, it was far from a dark era. Glorsh-Omega, having been provided the same curated literature as other trained AIs before it, gained access to the total of all Skrell culture to draw from. Working alongside collaborating writers and playwrights, multiple literary and theatrical entries were released for the populace to consume. Many noted the deviations from common literary elements and writing conventions, attributing it to Glorsh’s different perception of their culture, their society, and the species at large that it seemingly placed under its wards. The literary works Glorsh wrote in this era largely focused on exploring modern society and cultural norms, with characters far more fallible than other contemporary depictions. Although it never inserted itself into any of its work, the recurring mentor characters arriving to aid the protagonist were generally considered stand-ins of Glorsh itself. Utilization of the Nlom during theatrical performances made regular use of extreme ends of the emotional spectrum to communicate intended reactions to scenes, much to the discomfort of the audience.		While the Synthetic Era of Skrell history is not known for its cultural entries, it was far from a dark era. Glorsh-Omega, having been provided the same curated literature as other trained AIs before it, gained access to the total of all Skrell culture to draw from. Working alongside collaborating writers and playwrights, multiple literary and theatrical entries were released for the populace to consume. Many noted the deviations from common literary elements and writing conventions, attributing it to Glorsh’s different perception of their culture, their society, and the species at large that it seemingly placed under its wards. The literary works Glorsh wrote in this era largely focused on exploring modern society and cultural norms, with characters far more fallible than other contemporary depictions. Although it never inserted itself into any of its work, the recurring mentor characters arriving to aid the protagonist were generally considered stand-ins of Glorsh itself. Utilization of the Nlom during theatrical performances made regular use of extreme ends of the emotional spectrum to communicate intended reactions to scenes, much to the discomfort of the audience.
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	<div class="toccolours mw-collapsible mw-collapsed">		<div class="toccolours mw-collapsible mw-collapsed">
	=====The Gyre Widens (Noq’ipk Truzo Aquowalao)=====		======The Gyre Widens (Noq’ipk Truzo Aquowalao)======
	<div class="mw-collapsible-content">		<div class="mw-collapsible-content">
	<div><ul>		<div><ul>
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	<div class="toccolours mw-collapsible mw-collapsed">		<div class="toccolours mw-collapsible mw-collapsed">

	=====Stagnant Waters (Qohr’nuol Woha-Roax)=====		======Stagnant Waters (Qohr’nuol Woha-Roax)======
	<div class="mw-collapsible-content">		<div class="mw-collapsible-content">
	<div><ul>		<div><ul>
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	</div></div>		</div></div>
	<div class="toccolours mw-collapsible mw-collapsed">		<div class="toccolours mw-collapsible mw-collapsed">
	=====Voider’s Finality (Uuvoqel Trohluq) =====		======Voider’s Finality (Uuvoqel Trohluq)======
	<div class="mw-collapsible-content">		<div class="mw-collapsible-content">
	<div><ul>		<div><ul>

Stripes: /* The Arts */ Added Synthetic Era literature (from application proposal, approved by kermit)

2025-04-18T02:28:12Z

The Arts: Added Synthetic Era literature (from application proposal, approved by kermit)

@@ Line 278: / Line 278: @@
 </div></ul>
 </div></div>
 === Fashion ===

Hollyhock: typos

2025-03-20T07:19:07Z

typos

← Older revision		Revision as of 07:19, 20 March 2025
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	From what can be gleaned from historical research, early Skrell music focused on vocalisation. Water, being a convenient medium for noise, served well for long-distance singing and harmonisation. These songs were mainly call-and-response, where one Skrell sang a set of short notes, which were then met with a response by another Skrell some distance away. This would eventually lead to other Skrell joining in and harmonising and could lead to dozens of Skrell joining together in song. This simple form of music would eventually evolve to include percussion, the various seascapes of Qerrbalak offering a wide range of notes that could accompany the performance. As the noise could cover very long distances, it was difficult for these performances to stay separate, forcing groups to merge together and syncing quite well through both skill and the Nlom. Even today modern Skrell bands follow this trend, as bands typically organise in the tens of numbers and each member is given a specific, yet crucial role to play in the overall performance. Even the audience is able to join in, with some live songs relying on audience participation as the band members call out and wait for the crowd to reply back either with lyrics or vocalisations.		From what can be gleaned from historical research, early Skrell music focused on vocalisation. Water, being a convenient medium for noise, served well for long-distance singing and harmonisation. These songs were mainly call-and-response, where one Skrell sang a set of short notes, which were then met with a response by another Skrell some distance away. This would eventually lead to other Skrell joining in and harmonising and could lead to dozens of Skrell joining together in song. This simple form of music would eventually evolve to include percussion, the various seascapes of Qerrbalak offering a wide range of notes that could accompany the performance. As the noise could cover very long distances, it was difficult for these performances to stay separate, forcing groups to merge together and syncing quite well through both skill and the Nlom. Even today modern Skrell bands follow this trend, as bands typically organise in the tens of numbers and each member is given a specific, yet crucial role to play in the overall performance. Even the audience is able to join in, with some live songs relying on audience participation as the band members call out and wait for the crowd to reply back either with lyrics or vocalisations.

	Modern Skrell music hasn't changed much in structure, still relying on call-and-response as well as large groups harmonising together. Still, the process of creating and displaying these performances has become far more complex. Members of contemporary Skrell bands will train for years in order to have the best voices, choreography, and outfits possible to boost their performances. Skrell songs today typically preach Federation values; conformity, relying on one's social structures, and family are all common themes in modern music. Audiovisual elements are considered imperative to creating a song. This can be as simple as having a concert hall designed to provide the best auditory and visual experience possible, to complex holoprojections, laser light displays, or pyrotechnic setups. Some groups are known to employ ~~hallucinagenic~~ drugs, known as "tabs", which lull the user into a half-awake state and amplifying their emotional and physical response to different stimuli. Idol groups have also formed in the modern age, where top performing musicians will form bands together and gather their collective fanbases into one supergroup, boosting their overall status and propelling them forward in fame. While music subcultures exist, they are quite homogenous, with members of the group expected to stick to their styles and behaviours or be seen as "not true fans".		Modern Skrell music hasn't changed much in structure, still relying on call-and-response as well as large groups harmonising together. Still, the process of creating and displaying these performances has become far more complex. Members of contemporary Skrell bands will train for years in order to have the best voices, choreography, and outfits possible to boost their performances. Skrell songs today typically preach Federation values; conformity, relying on one's social structures, and family are all common themes in modern music. Audiovisual elements are considered imperative to creating a song. This can be as simple as having a concert hall designed to provide the best auditory and visual experience possible, to complex holoprojections, laser light displays, or pyrotechnic setups. Some groups are known to employ hallucinogenic drugs, known as "tabs", which lull the user into a half-awake state and amplifying their emotional and physical response to different stimuli. Idol groups have also formed in the modern age, where top performing musicians will form bands together and gather their collective fanbases into one supergroup, boosting their overall status and propelling them forward in fame. While music subcultures exist, they are quite homogenous, with members of the group expected to stick to their styles and behaviours or be seen as "not true fans".

	Many mainstream Skrell artists have adopted human trends in music; catchy Sol Common hooks and verses from human songs are sampled and remixed, while entire genres may be adopted to create something new through a Skrellian lens. Homemade genres, whether influenced by human music or not, are common to the alternative scene. '''Qr'lomq''' is a relatively new genre, denoted by short songs that have "rough, low-resolution" electronic production and high tempo, and is considered a definitive example of Skrell music production; Qr'lomq songs invoke aquatic imagery, while its electronic production allows for pitch-shifting that resembles the call-and-response structure of more popular Skrellian music.		Many mainstream Skrell artists have adopted human trends in music; catchy Sol Common hooks and verses from human songs are sampled and remixed, while entire genres may be adopted to create something new through a Skrellian lens. Homemade genres, whether influenced by human music or not, are common to the alternative scene. '''Qr'lomq''' is a relatively new genre, denoted by short songs that have "rough, low-resolution" electronic production and high tempo, and is considered a definitive example of Skrell music production; Qr'lomq songs invoke aquatic imagery, while its electronic production allows for pitch-shifting that resembles the call-and-response structure of more popular Skrellian music.
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	There is a notable counterculture in Skrell music as well. This group of music genres are typically sequestered away from polite society, with gatherings staying underground. While the composition of these genres is considered different, but not offensive to the average Skrell, the content of their songs makes them definitely the opposite of what is generally considered "good" music by Federation society at large. Mainstream music will focus on values the Federation promotes, but these underground musicians compose music revolving around drug abuse, anti-establishment attitudes, and encouraging its listeners to break free from the mould of Federation society. Fans of this music are typically listeners or listener-leaning receivers, as well as other groups who feel disenfranchised in the Nralakk Federation. Bands who play these types of genres are more often than not fallen idols, most of who end up thriving thanks to the less restrictive culture that surrounds the underground music scene; former idol group "D-LUX 1597" is a good example of this, reforming under this umbrella of counterculture and playing experimental industrial music to great success. Counterculture music tends to take itself less seriously than its mainstream counterpart, with lyrics often being humorous or vulgar in nature.		There is a notable counterculture in Skrell music as well. This group of music genres are typically sequestered away from polite society, with gatherings staying underground. While the composition of these genres is considered different, but not offensive to the average Skrell, the content of their songs makes them definitely the opposite of what is generally considered "good" music by Federation society at large. Mainstream music will focus on values the Federation promotes, but these underground musicians compose music revolving around drug abuse, anti-establishment attitudes, and encouraging its listeners to break free from the mould of Federation society. Fans of this music are typically listeners or listener-leaning receivers, as well as other groups who feel disenfranchised in the Nralakk Federation. Bands who play these types of genres are more often than not fallen idols, most of who end up thriving thanks to the less restrictive culture that surrounds the underground music scene; former idol group "D-LUX 1597" is a good example of this, reforming under this umbrella of counterculture and playing experimental industrial music to great success. Counterculture music tends to take itself less seriously than its mainstream counterpart, with lyrics often being humorous or vulgar in nature.

	At one point, it would have been considered illegal to own recordings that fall into this music category, but the Nralakk Federation has elected to use other methods to curb their influence on Skrell. Fans of the music are constantly anxious that their favourite band may "sell out", as the Federation offers ~~bandmembers~~ idol status in exchange for cleaning up their music for a more mainstream audience. A group that has been active in the underground scene for centuries may suddenly disappear into the vastness of Skrell pop music, as bands are enticed by the idea of fame and once-obscure fallen idols again get to enjoy all the privileges they used to have. Some bands have outright refused these offers, and take every precaution to make sure the Federation can't influence their group - including not announcing tours or gigs, and instead relying entirely on word of mouth and guerilla marketing.		At one point, it would have been considered illegal to own recordings that fall into this music category, but the Nralakk Federation has elected to use other methods to curb their influence on Skrell. Fans of the music are constantly anxious that their favourite band may "sell out", as the Federation offers band members idol status in exchange for cleaning up their music for a more mainstream audience. A group that has been active in the underground scene for centuries may suddenly disappear into the vastness of Skrell pop music, as bands are enticed by the idea of fame and once-obscure fallen idols again get to enjoy all the privileges they used to have. Some bands have outright refused these offers, and take every precaution to make sure the Federation can't influence their group - including not announcing tours or gigs, and instead relying entirely on word of mouth and guerilla marketing.
	=== Skrell Poetry ===		=== Skrell Poetry ===

WhatsUpBrotendo at 06:58, 30 November 2024

2024-11-30T06:58:53Z

Show changes

WhatsUpBrotendo: /* Fashion */

2024-05-31T15:04:58Z

Fashion

← Older revision		Revision as of 15:04, 31 May 2024
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	=== Fashion ===		=== Fashion ===
	When at [[Nralakk_Federation#State-Owned_Enterprises\|work]], Skrell will wear a standard grey wetsuit to hold in moisture. These wetsuits will have their owner's SCS symbol emblazoned either on the breast pocket or the back. One might also wear a purple work cloak or a grey jacket atop their wetsuit~~. These uniforms are a requirement for working abroad as part of the Work Initiative Programme, but others may also wear them for practical reasons~~. Work uniforms differ between the different SCS bands~~, with low~~-scoring individuals ~~wearing~~ rather plain, ~~utilitarian designs and~~ high-scorers ~~wearing extravagant, "trendy"~~ accessories.		When at [[Nralakk_Federation#State-Owned_Enterprises\|work]], Skrell will wear a standard grey wetsuit to hold in moisture. These wetsuits will have their owner's SCS symbol emblazoned either on the breast pocket or the back. One might also wear a purple work cloak or a grey jacket atop their wetsuit. Work uniforms differ between the different SCS bands. Low-scoring individuals tend to wear rather plain, practical uniforms, while high-scorers wear intricate uniforms with fashionable accessories.

	Skrell casualwear comprises various wetsuits or bathing suits, shorts, breathable footwear and sandals that don't typically indicate the wearer's social credit score. That said, casualwear does typically follow the same principles of workwear in that those with low social credit will prefer clothing that is functional rather than aesthetic, while those with a high score may be more concerned with the latest trends in fashion.		Skrell casualwear comprises various wetsuits or bathing suits, shorts, breathable footwear and sandals that don't typically indicate the wearer's social credit score. That said, casualwear does typically follow the same principles of workwear in that those with low social credit will prefer clothing that is functional rather than aesthetic, while those with a high score may be more concerned with the latest trends in fashion.

La Villa Strangiato at 20:14, 29 November 2023

2023-11-29T20:14:49Z

← Older revision		Revision as of 20:14, 29 November 2023
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	{{toc_right}}		{{toc_right}}

	~~= Federation Culture=~~		Skrell culture is generally recognised as the thoughts, beliefs, and practices that are most common within their species. Skrell that go against these norms are typically thought of as outliers, and will quickly become ostracized should they not bend and adhere to the society they find themselves in. Those that do not, will commonly find solace within the Traverse or outside of the Nralakk Federation.

	~~These are~~ generally ~~recognized by the Skrell~~ as ~~a set of~~ the ~~practices~~, beliefs, and ~~objects~~ that are ~~prevalent in or define~~ their ~~society~~. Skrell that go against these norms are typically thought of as outliers, and will quickly become ostracized should they not bend and adhere to the society they find themselves in. Those that do not, will commonly find solace within the Traverse or outside of the Nralakk Federation.

	== Naming System ==		== Naming System ==

WhatsUpBrotendo: /* Examples */

2022-12-15T10:27:47Z

Examples

← Older revision		Revision as of 10:27, 15 December 2022
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	==== Examples ====		==== Examples ====
	===== Paintings =====		===== Paintings =====
	[[File:Untitled design (18).png\|thumb\|center~~\|left~~\|75px]]		[[File:Untitled design (18).png\|thumb\|center\|75px]]
	[[File:SkrellArt5.png\|thumb\|center\|75px]]		[[File:SkrellArt5.png\|thumb\|center\|75px]]
	[[File:SkrellArt4.png\|thumb\|center\|75px]]		[[File:SkrellArt4.png\|thumb\|center\|75px]]

	~~===== Sculptures =====~~
	~~[[File:SkrellArt2.png\|thumb\|center\|75px]]~~
	~~[[File:SkrellArt3.png\|thumb\|center\|75px]]~~



	=== Architecture ===		=== Architecture ===