SSTURDAY APRIL 25TH, 2020
Horatian: Horatian satire is tolerant, funny, sophisticated witty, wise, self-effacing and aims to correct through humor...
Juvenalian: Juvenalian satire is angry, caustic, personal, relentless, bitter, and serious...
- Humor:Exaggeration or overstatement: Something that does happen, but is exaggerated to absurd lengths...
Genre of arts and literature in the form of humor or ridicule
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shor... en.wikipedia.org
Satire is a technique in art and literature that pokes fun at established artistic or cultural norms. Satirists practice their craft for the sake of social criticism, comedy, or, often, both. The different satire genres include spoof, parody, and classic literary satire techniques.
Definition of satire
1: a literary work holding up human vices and follies to ridicule or scorn
2: trenchant wit, irony, or sarcasm used to expose and discredit vice or folly https://www.merriam-webster.com/dictionary/satire
The Culinary Roots of Satire
Satire came into English at the beginning of the 16th century, and the meaning of the word has not strayed very far from its original sense. The initial uses were primarily applied to poems, and the term now has a broader applicability. Satire has a semantic and etymological overlap with both farce and lampoon. Farce ("a light dramatic composition marked by broadly satirical comedy and improbable plot") came into English as a synonym for forcemeat, meaning "finely chopped and highly seasoned meat or fish that is either served alone or used as a stuffing." Lampoon ("a harsh satire usually directed against an individual") is thought to come from the French lampons!, meaning "let us guzzle!" And satire is believed to trace back to the Latin satur, meaning "well-fed."
Examples of satire in a Sentence
By contrast, Martial's friend, Juvenal, learned to transmute Martial's epigrammatic wit into savage satire. Juvenal's fierce, if occasionally obscene, tirades against immorality fit easily into the propaganda of the new era.
— G. W. Bowersock, New York Review of Books, 26 Feb. 2009
Unlike late-night talk shows that traffic in Hollywood interviews and stupid pet tricks, "The Daily Show" is a fearless social satire. Not many comedy shows would dare do five minutes on the intricacies of medicare or a relentlessly cheeky piece on President George W. Bush's Thanksgiving trip to Iraq …
— Marc Peyser, Newsweek, 29 Dec. 2003 - 5 Jan. 2004
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
A feature of satire is strong irony or sarcasm —"in satire, irony is militant", according to literary critic Northrup Frye— but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question.
Satire is nowadays found in many artistic forms of expression, including internet memes, literature, plays, commentary, television shows, and media such as lyrics.
Etymology and roots
The word satire comes from the Latin word satur and the subsequent phrase lanx satura. Satur meant "full" but the juxtaposition with lanx shifted the meaning to "miscellany or medley": the expression lanx satura literally means "a full dish of various kinds of fruits".
The word satura as used by Quintilian, however, was used to denote only Roman verse satire, a strict genre that imposed hexameter form, a narrower genre than what would be later intended as satire. Quintilian famously said that satura, that is a satire in hexameter verses, was a literary genre of wholly Roman origin (satura tota nostra est). He was aware of and commented on Greek satire, but at the time did not label it as such, although today the origin of satire is considered to be Aristophanes' Old Comedy. The first critic to use the term "satire" in the modern broader sense was Apuleius.
To Quintilian, the satire was a strict literary form, but the term soon escaped from the original narrow definition. Robert Elliott writes:
As soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial, or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but "satirize", "satiric", etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the word satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'
The word satire derives from satura, and its origin was not influenced by the Greek mythological figure of the satyr. In the 17th century, philologist Isaac Casaubon was the first to dispute the etymology of satire from satyr, contrary to the belief up to that time.
“ The rules of satire are such that it must do more than make you laugh. No matter how amusing it is, it doesn't count unless you find yourself wincing a little even as you chuckle. ”
Laughter is not an essential component of satire; in fact there are types of satire that are not meant to be "funny" at all. Conversely, not all humour, even on such topics as politics, religion or art is necessarily "satirical", even when it uses the satirical tools of irony, parody, and burlesque.
Even light-hearted satire has a serious "after-taste": the organizers of the Ig Nobel Prize describe this as "first make people laugh, and then make them think".
Social and psychological functions
Satire and irony in some cases have been regarded as the most effective source to understand a society, the oldest form of social study. They provide the keenest insights into a group's collective psyche, reveal its deepest values and tastes, and the society's structures of power. Some authors have regarded satire as superior to non-comic and non-artistic disciplines like history or anthropology. In a prominent example from ancient Greece, philosopher Plato, when asked by a friend for a book to understand Athenian society, referred him to the plays of Aristophanes.
Historically, satire has satisfied the popular need to debunk and ridicule the leading figures in politics, economy, religion and other prominent realms of power. Satire confronts public discourse and the collective imaginary, playing as a public opinion counterweight to power (be it political, economic, religious, symbolic, or otherwise), by challenging leaders and authorities. For instance, it forces administrations to clarify, amend or establish their policies. Satire's job is to expose problems and contradictions, and it's not obligated to solve them. Karl Kraus set in the history of satire a prominent example of a satirist role as confronting public discourse.
For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions. The satiric impulse, and its ritualized expressions, carry out the function of resolving social tension. Institutions like the ritual clowns, by giving expression to the antisocial tendencies, represent a safety valve which re-establishes equilibrium and health in the collective imaginary, which are jeopardized by the repressive aspects of society.
The state of political satire in a given society reflects the tolerance or intolerance that characterizes it, and the state of civil liberties and human rights. Under totalitarian regimes any criticism of a political system, and especially satire, is suppressed. A typical example is the Soviet Union where the dissidents, such as Aleksandr Solzhenitsyn and Andrei Sakharov were under strong pressure from the government. While satire of everyday life in the USSR was allowed, the most prominent satirist being Arkady Raikin, political satire existed in the form of anecdotes that made fun of Soviet political leaders, especially Brezhnev, famous for his narrow-mindedness and love for awards and decorations.
Satire is a diverse genre which is complex to classify and define, with a wide range of satiric "modes".
Horatian, Juvenalian, Menippean
"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814.
Satirical literature can commonly be categorized as either Horatian, Juvenalian, or Menippean.
Horatian satire, named for the Roman satirist Horace (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece" (Rankin). Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently [ridiculing] the absurdities and follies of human beings" (Drury).
It directs wit, exaggeration, and self-deprecating humour toward what it identifies as folly, rather than evil. Horatian satire's sympathetic tone is common in modern society.
A Horatian satirist's goal is to heal the situation with smiles, rather than by anger. Horatian satire is a gentle reminder to take life less seriously and evokes a wry smile. A Horatian satirist makes fun of general human folly rather than engaging in specific or personal attacks. Shamekia Thomas suggests, "In a work using Horatian satire, readers often laugh at the characters in the story who are the subject of mockery as well as themselves and society for behaving in those ways." Alexander Pope has been established as an author whose satire "heals with morals what it hurts with wit" (Green). Alexander Pope—and Horatian satire—attempt to teach.
Examples of Horatian satire:
The Ig Nobel Prizes.
Bierce, Ambrose, The Devil's Dictionary.
Defoe, Daniel, The True-Born Englishman.
The Savoy Operas of Gilbert and Sullivan.
Trollope, Anthony, The Way We Live Now.
Gogol, Nikolai, Dead Souls.
Groening, Matthew "Matt", The Simpsons.
Lewis, Clive Staples, The Screwtape Letters.
Mercer, Richard ‘Rick’, The Rick Mercer Report.
More, Thomas, Utopia
Pope, Alexander, The Rape of the Lock.
Reiner, Rob, This Is Spinal Tap.
Twain, Mark, Adventures of Huckleberry Finn.
Ralston Saul, John, The Doubter's Companion: A Dictionary of Aggressive Common Sense.
See also: Satires of Juvenal
Juvenalian satire, named for the writings of the Roman satirist Juvenal (late first century – early second century AD), is more contemptuous and abrasive than the Horatian. Juvenal disagreed with the opinions of the public figures and institutions of the Republic and actively attacked them through his literature. "He utilized the satirical tools of exaggeration and parody to make his targets appear monstrous and incompetent" (Podzemny). Juvenal's satire follows this same pattern of abrasively ridiculing societal structures. Juvenal also, unlike Horace, attacked public officials and governmental organizations through his satires, regarding their opinions as not just wrong, but evil.
Following in this tradition, Juvenalian satire addresses perceived social evil through scorn, outrage, and savage ridicule. This form is often pessimistic, characterized by the use of irony, sarcasm, moral indignation and personal invective, with less emphasis on humor. Strongly polarized political satire can often be classified as Juvenalian.
A Juvenal satirist's goal is generally to provoke some sort of political or societal change because he sees his opponent or object as evil or harmful. A Juvenal satirist mocks "societal structure, power, and civilization" (Thomas) by exaggerating the words or position of his opponent in order to jeopardize their opponent's reputation and/or power. Jonathan Swift has been established as an author who "borrowed heavily from Juvenal's techniques in [his critique] of contemporary English society" (Podzemny).
Examples of Juvenalian satire:
Barnes, Julian, England, England.
Beatty, Paul, The Sellout.
Bradbury, Ray, Fahrenheit 451.
Brooker, Charlie, Black Mirror.
Bulgakov, Mikhail, Heart of a Dog.
Burgess, Anthony, A Clockwork Orange.
Burroughs, William, Naked Lunch.
Byron, George Gordon, Lord, Don Juan.
Barth, John, The Sot-Weed Factor; or, A Voyage to Maryland,—a satire, in which is described the laws, government, courts, and constitutions of the country, and also the buildings, feasts, frolics, entertainments, and drunken humors of the inhabitants in that part of America.
Ellis, Bret Easton, American Psycho.
Golding, William, Lord of the Flies.
Hall, Joseph, Virgidemiarum.
Heller, Joseph, Catch-22.
Huxley, Aldous, Brave New World.
Johnson, Samuel, London, an adaptation of Juvenal, Third Satire.
Kubrick, Stanley, Dr. Strangelove.
Mencken, HL, Libido for the Ugly.
Morris, Chris, Brass Eye.
———, The Day Today.
Orwell, George, Nineteen Eighty-Four.
Orwell, George, Animal Farm.
Palahniuk, Chuck, Fight Club.
Swift, Jonathan, A Modest Proposal.
Zamyatin, Yevgeny, We.
See Menippean satire.
Satire versus teasing
In the history of theatre there has always been a conflict between engagement and disengagement on politics and relevant issue, between satire and grotesque on one side, and jest with teasing on the other. Max Eastman defined the spectrum of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target. Nobel laureate satirical playwright Dario Fo pointed out the difference between satire and teasing (sfottò). Teasing is the reactionary side of the comic; it limits itself to a shallow parody of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a subversive character, and a moral dimension which draws judgement against its targets. Fo formulated an operational criterion to tell real satire from sfottò, saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing. Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.
Teasing (sfottò) is an ancient form of simple buffoonery, a form of comedy without satire's subversive edge. Teasing includes light and affectionate parody, good-humoured mockery, simple one-dimensional poking fun, and benign spoofs. Teasing typically consists of an impersonation of someone monkeying around with his exterior attributes, tics, physical blemishes, voice and mannerisms, quirks, way of dressing and walking, and/or the phrases he typically repeats. By contrast, teasing never touches on the core issue, never makes a serious criticism judging the target with irony; it never harms the target's conduct, ideology and position of power; it never undermines the perception of his morality and cultural dimension. Sfottò directed towards a powerful individual makes him appear more human and draws sympathy towards him. Hermann Göring propagated jests and jokes against himself, with the aim of humanizing his image.
Classifications by topics
Types of satire can also be classified according to the topics it deals with. From the earliest times, at least since the plays of Aristophanes, the primary topics of literary satire have been politics, religion and sex. This is partly because these are the most pressing problems that affect anybody living in a society, and partly because these topics are usually taboo. Among these, politics in the broader sense is considered the pre-eminent topic of satire. Satire which targets the clergy is a type of political satire, while religious satire is that which targets religious beliefs. Satire on sex may overlap with blue comedy, off-color humor and dick jokes.
Scatology has a long literary association with satire, as it is a classical mode of the grotesque, the grotesque body and the satiric grotesque. Shit plays a fundamental role in satire because it symbolizes death, the turd being "the ultimate dead object". The satirical comparison of individuals or institutions with human excrement, exposes their "inherent inertness, corruption and dead-likeness". The ritual clowns of clown societies, like among the Pueblo Indians, have ceremonies with filth-eating. In other cultures, sin-eating is an apotropaic rite in which the sin-eater (also called filth-eater), by ingesting the food provided, takes "upon himself the sins of the departed". Satire about death overlaps with black humor and gallows humor.
Another classification by topics is the distinction between political satire, religious satire and satire of manners. Political satire is sometimes called topical satire, satire of manners is sometimes called satire of everyday life, and religious satire is sometimes called philosophical satire. Comedy of manners, sometimes also called satire of manners, criticizes mode of life of common people; political satire aims at behavior, manners of politicians, and vices of political systems. Historically, comedy of manners, which first appeared in British theater in 1620, has uncritically accepted the social code of the upper classes. Comedy in general accepts the rules of the social game, while satire subverts them.
Another analysis of satire is the spectrum of his possible tones: wit, ridicule, irony, sarcasm, cynicism, the sardonic and invective.
The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour.Reflexive humour can take place at dual levels of directing humour at self or at the larger community the self identifies with. The audience's understanding of the context of reflexive humour is important for its receptivity and success . Satire is found not only in written literary forms. In preliterate cultures it manifests itself in ritual and folk forms, as well as in trickster tales and oral poetry.
It appears also in graphic arts, music, sculpture, dance, cartoon strips, and graffiti. Examples are Dada sculptures, Pop Art works, music of Gilbert and Sullivan and Erik Satie, punk and rock music. In modern media culture, stand-up comedy is an enclave in which satire can be introduced into mass media, challenging mainstream discourse. Comedy roasts, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.
The satirical papyrus at the British Museum
Satirical ostracon showing a cat guarding geese, c.1120 BC, Egypt.
Figured ostracon showing a cat waiting on a mouse, Egypt
One of the earliest examples of what we might call satire, The Satire of the Trades, is in Egyptian writing from the beginning of the 2nd millennium BC. The text's apparent readers are students, tired of studying. It argues that their lot as scribes is not only useful, but far superior to that of the ordinary man. Scholars such as Helck think that the context was meant to be serious.
The Papyrus Anastasi I (late 2nd millennium BC) contains a satirical letter which first praises the virtues of its recipient, but then mocks the reader's meagre knowledge and achievements.
The Greeks had no word for what later would be called "satire", although the terms cynicism and parody were used. Modern critics call the Greek playwright Aristophanes one of the best known early satirists: his plays are known for their critical political and societal commentary, particularly for the political satire by which he criticized the powerful Cleon (as in The Knights). He is also notable for the persecution he underwent. Aristophanes' plays turned upon images of filth and disease. His bawdy style was adopted by Greek dramatist-comedian Menander. His early play Drunkenness contains an attack on the politician Callimedon.
The oldest form of satire still in use is the Menippean satire by Menippus of Gadara. His own writings are lost. Examples from his admirers and imitators mix seriousness and mockery in dialogues and present parodies before a background of diatribe. As in the case of Aristophanes plays, menippean satire turned upon images of filth and disease.
The first Roman to discuss satire critically was Quintilian, who invented the term to describe the writings of Gaius Lucilius. The two most prominent and influential ancient Roman satirists are Horace and Juvenal, who wrote during the early days of the Roman Empire. Other important satirists in ancient Latin are Gaius Lucilius and Persius. Satire in their work is much wider than in the modern sense of the word, including fantastic and highly coloured humorous writing with little or no real mocking intent. When Horace criticized Augustus, he used veiled ironic terms. In contrast, Pliny reports that the 6th-century-BC poet Hipponax wrote satirae that were so cruel that the offended hanged themselves.
In the 2nd century AD, Lucian wrote True History, a book satirizing the clearly unrealistic travelogues/adventures written by Ctesias, Iambulus, and Homer. He states that he was surprised they expected people to believe their lies, and stating that he, like them, has no actual knowledge or experience, but shall now tell lies as if he did. He goes on to describe a far more obviously extreme and unrealistic tale, involving interplanetary exploration, war among alien life forms, and life inside a 200 mile long whale back in the terrestrial ocean, all intended to make obvious the fallacies of books like Indica and The Odyssey.
Medieval Islamic world
Main articles: Arabic satire and Persian satire
Medieval Arabic poetry included the satiric genre hija. Satire was introduced into Arabic prose literature by the author Al-Jahiz in the 9th century. While dealing with serious topics in what are now known as anthropology, sociology and psychology, he introduced a satirical approach, "based on the premise that, however serious the subject under review, it could be made more interesting and thus achieve greater effect, if only one leavened the lump of solemnity by the insertion of a few amusing anecdotes or by the throwing out of some witty or paradoxical observations. He was well aware that, in treating of new themes in his prose works, he would have to employ a vocabulary of a nature more familiar in hija, satirical poetry." For example, in one of his zoological works, he satirized the preference for longer human penis size, writing: "If the length of the penis were a sign of honor, then the mule would belong to the (honorable tribe of) Quraysh". Another satirical story based on this preference was an Arabian Nights tale called "Ali with the Large Member".
In the 10th century, the writer Tha'alibi recorded satirical poetry written by the Arabic poets As-Salami and Abu Dulaf, with As-Salami praising Abu Dulaf's wide breadth of knowledge and then mocking his ability in all these subjects, and with Abu Dulaf responding back and satirizing As-Salami in return. An example of Arabic political satire included another 10th-century poet Jarir satirizing Farazdaq as "a transgressor of the Sharia" and later Arabic poets in turn using the term "Farazdaq-like" as a form of political satire.
The terms "comedy" and "satire" became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Islamic philosophers and writers, such as Abu Bischr, his pupil Al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troubled beginnings and happy endings, associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" thus gained a new semantic meaning in Medieval literature.
Ubayd Zakani introduced satire in Persian literature during the 14th century. His work is noted for its satire and obscene verses, often political or bawdy, and often cited in debates involving homosexual practices. He wrote the Resaleh-ye Delgosha, as well as Akhlaq al-Ashraf ("Ethics of the Aristocracy") and the famous humorous fable Masnavi Mush-O-Gorbeh (Mouse and Cat), which was a political satire. His non-satirical serious classical verses have also been regarded as very well written, in league with the other great works of Persian literature. Between 1905 and 1911, Bibi Khatoon Astarabadi and other Iranian writers wrote notable satires.
In the Early Middle Ages, examples of satire were the songs by Goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the 20th-century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the 12th century, it began to be used again, most notably by Chaucer. The disrespectful manner was considered "unchristian" and ignored, except for the moral satire, which mocked misbehaviour in Christian terms. Examples are Livre des Manières by Étienne de Fougères [fr] (~1178), and some of Chaucer's Canterbury Tales. Sometimes epic poetry (epos) was mocked, and even feudal society, but there was hardly a general interest in the genre.
Early modern western satire
Pieter Bruegel's 1568 satirical painting The Blind Leading the Blind.
Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result).
Two major satirists of Europe in the Renaissance were Giovanni Boccaccio and François Rabelais. Other examples of Renaissance satire include Till Eulenspiegel, Reynard the Fox, Sebastian Brant's Narrenschiff (1494), Erasmus's Moriae Encomium (1509), Thomas More's Utopia (1516), and Carajicomedia (1519).
The Elizabethan (i.e. 16th-century English) writers thought of satire as related to the notoriously rude, coarse and sharp satyr play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straightforward abuse than subtle irony. The French Huguenot Isaac Casaubon pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), and the sense of wittiness (reflecting the "dishfull of fruits") became more important again. Seventeenth-century English satire once again aimed at the "amendment of vices" (Dryden).
In the 1590s a new wave of verse satire broke with the publication of Hall's Virgidemiarum, six books of verse satires targeting everything from literary fads to corrupt noblemen. Although Donne had already circulated satires in manuscript, Hall's was the first real attempt in English at verse satire on the Juvenalian model.[page needed] The success of his work combined with a national mood of disillusion in the last years of Elizabeth's reign triggered an avalanche of satire—much of it less conscious of classical models than Hall's — until the fashion was brought to an
The Discovery of the Planet Caelum shattered Humanity's knowledge of physics and nature. It was the pinnacle of Exploration and the crew who set foot on it saw what could only be described as Paradise.
Lush Forests were spread amply across the planet, dozens of exotic species roamed the vast fields gracefully. The Night Sky was nothing short of an almighty goddess presenting her beauty for all living things to witness. However, despite the Marvels that Caelum already had to offer, all of them were trumped by the Floating islands of the Aphrodite Region, hundreds of great natural occurrences all stationary in mid air, the Humans spent months admiring it, stars in their eyes.
Unbeknownst to the Humans, they were far from alone on this Heaven. For thousands of years a good few species had been developing, entire Empires lay claim to the spectacles Caelum had to offer. The Humans touched ground on Caelum shortly after a great discovery was made. This was not of the Isaac Newton discovering Gravity style discovery, but of a great new Incantation. The Uillo charm allowed the sentient species of Caelum to massively boost their Harvests.
The beings that settled this world would never go hungry again, they had cheated Death, and Death raised them: The Human.
The Moment Humanity touched the surface of Caelum, the natural order of the world was shifted. All beings with Magical Potential inside of them felt it. A Void. Something unnatural that was not allowing the Natural Magic of Caelum to pass like a wind. The Great Expedition was sent to investigate this void of Magic.
Two years they travelled, only to find structures not of Caelum, buildings stretching far into the Sky, the Humans approached them Warily, they then realised that these invaders were the cause of the shift in Nature. They attacked the Human Settlement and killed hundreds. They then destroyed the buildings. Despite all of their fancy ways of life, they were no match for their Incantations, Order was Restored.
The Humans were persistent, they claimed their lands, and soon, more arrived. The Settlers of Caelum, the Peytioal, the Yiahi and the Lihk, banded together to remove the stain that dared colonise their Holy World. Thousands of Sorcerers marched upon them, there, they burnt them to the ground again, killing hundreds of families.
The Humans returned. Not as settlers this time, but as Death’s Vile Fist. They floated above the sky, beams of blue light rained down on their cities, turning their houses to mere piles of ash and their walls to pebbles. Then their soldiers arrived, and the Battle Begun. Millions of beings collectively uniting to fight off the invaders, and hundreds of thousands of Humans fighting for a Home to raise their young on. The fields of Caelum were stained red.
The Humans were impossible to predict, they all spoke differently, in completely different languages and accents, each one fought differently, they each bore a different flag, of red and white stripes with Stars, of a Red and White Cross and a myriad of others. They sometimes launched themselves in the thousands, sometimes only a handful would take cities rapidly, sometimes it was not even a Human at all. Missiles flew at them, wreaking havoc upon all that found themselves in their way, but even that was rivalled. Whenever they found themselves on the very brink of victory, it would happen. An object would zip by faster than sound, creating a boom as it went, and a lump of metal would fall from the sky. The very fabric of the World they stood on tore itself apart as a plume of fire and anguish rose into the atmosphere. They referred to it as Death’s Duster, as it would wipe cities off the face of Caelum without the Humans ever having the raise their rifle. The aftermath was worse, in the end of Death’s Duster, the dead are the Lucky Ones. A slow and painful end met the survivors as they perished in agony, burning without a fire and vomiting their insides. Caelum’s Spirit faded as more of these were dropped. Even when Humanity lost, they won.
Peace came to them after they fought for a generation, the ones that survived were bounded by chains and stepped on by the Cruel boot of Death’s Favourite Pet, his Sentinel, his Lightbringer. The Humans tore Caelum by the seams as the Ages went, a cruel revenge for the 1,000 killed by the ancestors of those Forsaken to Humanity’s will. Humanity poisoned Caelum just like they did their Home, it was an efficient way of getting Revenge, they left after a few hundred years, abandoning their playthings and leaving them to a Graveyard of Gods, the Islands had fallen, rotting carcasses lay in the hundreds on the dead horizon, and in that moment, all they could ever ask, an annoyance to the Humans, was this: “Why Us?”
I've been looking for an old game site I used to play on, it had a blue on white stile and I think I remember the log name had the Kizi monster somewhere on it, but I might be remembering it wrong. I'm mostly looking for a specific isometric adventure game but I only remember it on this site and also forgot the name of the game. I remember the game spawning you on the beach of an island and you had to kill monsters to get monster eggs that you can hatch to get a companion. I also thing they gave you a fox or wolf or something as your first companion. Sorry if I cant be specific, I just don't remember much about it.