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The following is an attempt to compile and summarize my understanding of Charalin culture. As one of the groups in our lore that is far removed from the influence of the Davite religion, they are open to a lot more interpretation than most. However, it is impossible to remove the influence of the Davites from the Charalin life. This point, illustrated later, will show the dynamic tensions that help make the Horse People – at least to me – one of the most enjoyable to play.

For those that do not know me, I’ve played off-and-on in the TI theme since the original implementers were around. My list of Charali includes Balta Soyot, Haroun Seriat and the present Antione Yagmur. During the lifetimes of these three characters, I’ve developed a few things particular to their families and Charali as a whole – most notably the short story ‘Song of Motion’ located on these forums which tries to detail a fair portion of their ancient mythos.

Primer:

Those that know something of the Charali will recognize them as a nomadic matriarchy with a heavy focus on horse husbandry. They are called Charali, in part, because of their word for horse. I speculate that early traders took their frequent use of the word ‘cheradi’ to be the name of their race and thus labeled them with it. The plainsfolk, for reasons that will be explained later, did not mind the moniker and have worn it since. Other common names for the Charali include the self-referential ‘People’, horse folk, horse lords. Others lump them readily with other primitive groups like the hillmen and call them ‘savages’.

They are born, live and die in the saddle. Being of a nomadic sort, they move with game, herds and weather over the plains. According to ‘help regional features’ and ‘help charalin’ they appear on the majority as such:

“…the Charali are tall (six feet and more) and have blond or red hair. Eye
color ranges from green to an almost grey color. Most Charali are light
framed, almost to the point of looking gaunt.”

Variations in this are certainly possible through sharing of borders and blood. As will be touched upon later, the Vavardi have had the most contact with the Charali since the Consolidation, causing mixes between the two cultures to become more common over the last few hundred years. In the vein of appearances, Charali are known to bare tattoos on occasion as well as paint themselves for specific rituals, songs or celebrations. Charalin personal appearance is not fashion conscious but leans heavily into utility. Long hair may be removed if it is in the way, for example, though is usually restrained with a traditional Charalin headband or hat.

Their domain is a large portion of land southeast of Lithmore on the other side of the Kirulean Sea. Parts of their border are shared with Vavard, Vandago, and it is speculated by scholars that due to the similarities in their tongues the Daravi are their neighbors as well in a realm far removed from most Davite maps. Unlike the other places in the world, there is no kingdom or infrastructure. Permanent settlements do not exist save for the rare burial ground. As will be discussed later, the most permanent things on the Plains are the border forts and mercantile ventures of the Vavardi. There may also be a missionary effort attached to both of these through the influence of the Order.

Architecture:

The Charalin style of architecture is simple and easy to break down for transport. Lesser members of the tribe reside within tepees covered with animal skin while elders and those with higher social standing will live in family-sized cylindrical yurts. Furniture is minimal, as noted in the help files. Because of the volatile nature of the Plains in terms of weather, trees are relatively rare. Each of the poles used is therefore rare and has gained a little mystical symbolism in the process. If a pole snaps, for example, it is an ill omen and portents the injury or death of one of the family. Likewise, there is on occasion a ‘sky burial’ that occurs when a prominent member of the family has died. Using a pole from each of the homes in the tribe, the corpse is held aloft toward the sky in order to ensure an easier journey for the spirit. I’ll mark this one again later once we get to rituals.

Customs:

As mentioned in the help files, there are few customs which are as heavily ingrained in Charali culture as hospitality. The offer of food, water and fire is an obligation from those at camp to those that are traveling. This obligation stems from the understanding of the harshness of their surroundings and the sacred nature of life. As common a greeting as “How is your family?” is “Have you eaten?” a nod to some of the other hospitality cultures in our world. The relationship between host and guest is likewise as sacred, following in the mode of Maker and Man which will be spoken of later.

When a person enters the camp of another, permission is asked. If accepted, the host offers a place by the fire, food and water enough to comfort the guest. To refuse service is usually considered an insult that describes the host’s resources as limited or the guest’s personal powers as superior to the Nature that the host seeks to shelter them from. When inside another person’s tent or around their fire, no foul play or murder may occur without inciting the wrath of the Charali and the spirits. When a person accepts hospitality, especially in the tent or yurt, he is temporarily subject to the sovereignty of that domicile’s owner. It is bad form to make direct requests of a guest (i.e., “I require that you turn over your money and goods”), but the guest must show their submission to the will of the host and agree to personal requests such as telling family stories and namesakes.

Another style of guest/host relationship is sometimes observed during the war season or away from the main encampments of the tribal group. New arrivals may be subject to the Law of Nature: the new arrivals are subject to single combat with the camp mistress and her first consort. First blood is usually more than enough to determine which will make decisions in the camp. This combat is much like the establishment of the animal pecking order, but it is also a ritual establishment. Similar to limits placed on tribal skirmishes because of resource limitations, these fights are rarely to the death and exist as a measurement of honor and skill.

In this vein, the Charali share similar customs to the Gypsy, but their hospitality is not immediately taken as adoption into the Charalin clan. Charali, though they are clearly separate (albeit large) family groups, recognize their common ancestry and kinship in lifestyles. Pan-Plains events like the Great Charalin Race unite tribes once a year in a festive atmosphere of cross-pollination. Tribal warfare (a topic to be touched on later) ceases during this brief time to allow the Charali to become a singular nation. The rest of the year, they are separate entities, pursuing their own goals and game within the wilds.

As the help files mention, the family unit is rather large in Charalin terms. While a Lithmorran family may contain those linked by a single generation and blood, a Charalin family often includes cousins, aunts, uncles, un-blooded ‘brothers and sisters’ which are usually given this title through camaraderie in combat or other trials. It is not a small thing. Calling a non-Charali brother or sister is a mark of equality and respect.

Education:

Education to a Charali is not what it means in the West. There are no schools save the occasional words of the missionaries from the Church. As a Charali grows older on the Plains, they learn how to survive. The life of a Charali resides in this. Leisure is a rarity. Everything that is done is done for a purpose.

A highlight of this ‘education’ comes in the coming of age. In most tribes (at least, those that I have played from), the thirteen year old is cast out into the wilderness with a knife. For an entire cycle of Ellieuh (approx. 31 days), the youth survives without the aid of their family unit. On their own wits, knowledge of the land they have wrought, they must not only survive, but find their totem or namesake. Before this point in their life, having achieved nothing, they are rarely more than Boy or Girl. The harsh conditions may kill these youth, but it is also the only crucible which may properly forge them for their life ahead. This time in the wild alone may also yield spiritual visions. To outsiders, they may simply be malnutrition, exposure to the elements or dehydration.

Until Elliueh becomes full, the Charali may not begin to track and pursue their families. During this time, it is their task to clothe themselves, create weapons and gain some coup or honor in pursuit of their name. As Elliueh begins to wax or wane, depending on when the cycle started, the youth may begin to make their way through the wilds toward their family. When they arrive, they are met with a greater celebration than the day they entered the world. There is no birthday, but a naming day, when the Boy or Girl gains their place in the tribe as an adult. By gaining this, they are able to speak their opinion within their hierarchy and be counted among the warriors when battle is called.

Another highlight of this ‘education’ is how Charali transmit information. Often times, my characters will speak about this difference. The West takes great pride in their libraries that hold ancient wisdom. The Charali, however, are a completely oral culture. Writing in Charali is usually pictographic and supported by Vandagan, Vavardi, Lithmorran or even Daravi written forms. In this regard, Charali are known for their lyrical speech and tremendous memory. Because of this, Charali revere bards greatly and are occasionally revered by bards for the same reason. The average Charali should be able to recite the line of the matriarch for 3-4 generations and know stories of each, particularly how they gained their names. A well-travelled Charali may know stories from several cultures.

One of the principle stories that my Charali usually know is the Song of Motion (referenced on the forums as Om’Seriat). To the tribes that they belong to, this is the epic of creation and the foundation for how they approach the world. It speaks of the world in primal terms, citing its foundation by a maternal entity known as the Mother or Maker. The elements here are referred to as the Five Siblings. It is a poetic work that is usually spoken by a tribal elder over the course of a few days, accompanied by drums but no food. Warrior Charali (like Balta and Antione) may recite it, but because of its content and meaning, may find themselves greatly fatigued by the dense religious material.

Other stories, linked to this, include the stories that cite the origin of metal and the present state of the Charali as the simple culture steeped in animism. As most of that is already written, or at least alluded to, I’ll not go into detail here.

I will be posting more in a bit.

I think this stuff is great. Thank you for sharing it, Wolfie.

Naming:

Where do Charali names come from? As a rule, due to their matriarchal lineage, the family name is often the name of their birth mother. In Antione’s case, his last name is Yagmur, the name of his mother. In the middle ages it was rare for the peasant class to have a family name aside from a profession. For the Charali, this family name carries the greatest honor – their Charalin name (also called honor, deed or coup name) is secondary to their mother’s. Charali will often have a Davite name given or taken by them as well to make their passage through Western territory easier. When a Charali introduces his or herself to a westerner, they will often say “I am (order of birth) (son or daughter) of (mother), (Davist name).” For Antione, this would be “I am first son of Yagmur, Antione.” Davist names are usually taken from local dialects or cultures. In longer, more formal introductions, the Charali will relate their mother’s lineage back several generations before introducing themselves to mark honor for their ancestors.

Sometimes the name given or taken by a Charali marks their place in society. I always enjoy using Turkish words for names. Balta, for example, means axe. Though it was picked somewhat arbitrarily, its meaning helped to shape the character. To have the name of a weapon made him into a warrior. His purpose and moniker were the same thing to his family, and that helped shape his cold demeanor.

Other inspirations that I have drawn from for the Charali are wide-ranging. Steppe nomads from Asia (the Mongols in part), the reindeer people and other shamanistic people of Siberia, Gaelic cultures and the native plains cultures of America. All of these, in some part, have come together to form my idea of what a Charali is. More of this influence will be seen later when we discuss the all important ‘faith’ which probably takes up the most of whatever development I’ve seen over the years.

Fashion:

Now, what do they wear? As the help files say, they wear what they need to. Simple materials like felted cloth, furs and cottons will occasionally be complimented by more complex weaves and fabrics gained through trading with their neighbors. However, these are treasures too valuable to wear every day. What you will see worn by most Charali is utilitarian and adaptable toward changes in weather or combat conditions.

The base of Charalin garb is the tunic and trousers. The tunic is collarless and sleeveless, made of simple cloth. Variations in this cut distinguish the tribe. Some wear tunics without sewn sides, others stitch them up. Some wear longer cuts with overlapping chest pieces like the Mongolian del. The trousers are similar in make and variation. Heavier make to protect the legs from the abrasive nature of horse riding and weather exposure. The colors are neutral and earthen, based off of local plant and animal dyes. As this is usually the first layer against the skin, the decorations may not be terribly elaborate.

Secondary layers are donned in cooler weather conditions. As weather in the plains can turn on a dime, things like the addition of vests for the tunic, or more elaborate weatherproofing garments like the Mongolian khurim or Polish zupan which are essentially leather or heavy material overcoats that are girdled with a sash or belt.
A secondary layer over the trousers may include chap-like garments to protect the inside of the legs from abrasion. Boots are made from unbending leather, often with smooth soles like a moccasin which enables quieter movement over terrain. Decorations on these other pieces of garment may be very elaborate with beading, bone work or appliqué.

Being a nomadic people, their gear will also include saddles and other tackle for their horses. These are legendary things that are passed down from family to family because of the sheer amount of work necessary in their manufacture. If there is no saddle in a family, then the rider may well just use a blanket or ride bareback. Blankets are preferable as long rides in bareback may lead to irritation on the horse’s back from clothing that the rider wears.

When it comes to warfare, the gear that the Charali use is limited. Armor is not a large priority, and metal armors do carry something of a religious stigma. The sheer amount of weight also eliminates it from the nomadic culture as it is not an everyday item. Need will always outweigh prestige. Their normal clothing is often what they wear to war. Depending on the season and the reason for the conflict, they may not wear much at all. Paint made from the aforementioned dyes and animal fat may be used, including ash.

As far as weapons, most of these are inherited as well. Metalworking is not a common trade among the Charali because of limited resources and the need for a stationary forge to manufacture high quality weapons. Most of the blades or heads that the Charali have will have been acquired in trade. If a Charali were to manufacture their own weapons, they would most likely be made out of flint or copper, both of which are easier to work than iron or steel. The most common melee weapons would be knives, spears, clubs and axes. The same weapons that the use for hunting game would be used for hunting men. For range, of course, the Charali rider would use their bows. Their bows would tend to be smaller to allow for use while riding. Shields are probable, but only made out of leather stretched over wooden frames.

Faith & Perspective:

The two things that effect the Charali most when it comes to faith is their bond with nature and the impact of Davism on their culture. As a barometer for a Charalin characters beliefs, I generally refer to the single event in their history: The 30 Days War during the Consolidation. Most Charali would know it as the 30 Days of Fire. During this month of the war, the Charali were decimated by advanced battlefield tactics, numbers and technology. Fewer than 4 in 10 survived the onslaught to flee toward Vavard for refuge. Depending on how a character reacts to this may well determine their entire disposition.

During my time playing Charali, I’ve had a character from each perspective. On one hand, Balta, a Charali with education from Davite missionaries perceived the 30 Days of Fire as an act of divine retribution that fits into a similar, earlier mythological event. His hatred was more toward the Vavard for their continued attempts at invading Charali land.
On the other hand, Antione, I believe, holds the views of most Charali in that they are incredibly wary of Davites, especially Lithmorrans for their part in the near-eradication of their race. Generally, the suspicion that more civilized races visit upon the Charali is returned, though their sense of honor forbids them from trying to collect amends in blood. They would have to kill thousands. This is a waste of life, both in the taking of it and the dedication to genocide. To prove they are holier creatures in the eyes of the Maker, Charali that must travel and live in distant lands will do all they can to create peace around them. This, however, is at odds with both this racial trauma and their natural, fiery tempers.

This attempt to create peace manifests in the Charali’s speech and phrasing. Occasionally, to solve any difficulties, they will engage in a broad series of white lies to smooth things over. It is not so much about the content of the words, but their intent and impact upon the environment and mood. When I was playing Balta before he joined the knighthood, this subtle twist of fact was referred to as the “Charali bend”. When dealing with other races, this has helped cultivate a general distrust of what a Charali says and give them a reputation as liars. Many societies view the Charali as savages, though most plainsmen accept the moniker. If being civilized means worshipping coin and a cup, then being a savage just means they are closer to the purity of animals.

As explanation of this, I tried very hard to cultivate plains’ mythos toward what I know of the druidic religion in-game. The driving premise of this religion was the sacred nature of the earth and the necessity of ‘sneaking’ into heaven through the use of animal skins around the dead. Animals, in this sense, were the most pure of all creations. I needed a reason why and manufactured the legendary beginning of the Charali. By taking fire from their gods in a moment of pain and despair, one of the first Horses became a weaker creature named Man with the same creative ability as a god.

The Charali, departing from their family of animals, came to hunt them. From the earth, they began to harvest the bones of the old gods, crafting from metal, taming fire and creating an empire of their own. For this conceit and pride against their Make, the Charali paid with their lives.

Though born in strange sin, it was not our last. The Man, weak and new, without either hide or claw to shield them from the world, asked their family to help them. Each animal gave what they could, treating Man like family and guest. The Hawk lent its eyes, the horse gave use of its legs, the lizard gave five-fingered hands like the Siblings. The Boar lent its might heart. But the owl, last and wisest of the animals, saw a hole in the man that the gifts could not fill.

The animals had given everything to this strange creature, but nothing could fill that hole. The man will take, said the owl, to see it filled. Lives, land, things that do not matter or can not be taken. He is sad and this is where the sadness lives.

“So man turned away from the animals and forgot how to speak to them. He looked for new things to make; the tepee, the yurt, the sled for the horse that was his Brother. Soon, his eyes turned toward other things. He stayed still, tended the plants with the hands that his animal kin had given him. He no longer ran like the horse, but watched the seasons go by. He knew, for the first time, death and the passage of the years. Men made Men and the gifts of the animals began to wear down for they were shared among many. The men began to dig in the earth and cut down the tree, looking for the things that the Siblings had used to make the world.

It was in these things that the gifts had been made, so they desired the raw material to shape the world themselves. Pieces of gold, the very veins of Earth, came first. They kept small fires, made from what they had stolen. The metal yielded from the earth and bent to the will of man. It was bright and divine, a piece of the Mother.
Soon, the fires grew hotter like the hunger of Man. The metal worked grew harder and colder like the Man that forged it. Bronze, copper, iron made to godly teeth and armor. The game was no longer fair, their animal kin died fast with little chase. The Mother shunned the children and sought to punish them; the land, a mix of 5 and overseen by One, was forcibly distilled into tools of a fallen animal. Metal, blessings and curse, saw the Men fall once more.

The Mother snapped their swords with beasts of earth and fire, seeing the men quit their sinful path and fall nearer the animal from which they were born. In their woe and rediscovered kinship with the animal, a prophecy was made by an old woman whose voice was like that of the Mother. If the Horsemen should stray again, a man of iron and flame would visit upon them to mete punishment. Half the Men feared this, but the others merely grew angry. Their fires roared again into the night, but not to forge the metals of the gods, but to bring ancient foe to heel that they wrought their circles of blood and flame. They bade demons to the earth and painted themselves with the red clay in the southern hillock. These men are the Baeldane, the accursed tribe. The rest see the end days at hand with the men of the West so near. They bring steel and fire will most certainly follow.”

In this way, the Charali believe that their land was flattened down to their plains and they fell back into the old ways that were closest to their animal kin. For the sake of their souls, they do not embrace the presumptions of metal or vast architectures. Most, before the Consolidation, may have believed that a second apocalypse most more than possible if the Great Mother were to find reason. In this way, some of the Charali took the 30 Days of Fire as such divine retribution. The ‘prophecies’ may have been composed well after the fact. Some Charali foster themselves in anger by blaming the Davites, and others may well blame themselves for what happened to them.

In this way, the Charali believe that their land was flattened down to their plains and they fell back into the old ways that were closest to their animal kin. For the sake of their souls, they do not embrace the presumptions of metal or vast architectures. Most, before the Consolidation, may have believed that a second apocalypse most more than possible if the Great Mother were to find reason. In this way, some of the Charali took the 30 Days of Fire as such divine retribution. The ‘prophecies’ may have been composed well after the fact. Some Charali base themselves in anger by blaming the Davites, and others may well blame themselves for what happened to them.

The religious stigma behind iron weapons and arms stems from this background. To them, metals are the bones of the earth and the old gods. By working them (something alien to their nomadic lifestyle which mimics animals), they are using their abilities that were gained by the attainment of Fire by Horse. As a question of moral stance, Charali are greatly akin to their perceived animal origins. Like Nature, there is rarely any use of good or evil. There is little selfish desire once dominance is established within a pack group. They have the facility to be cold and purposeful.

More later.

Wanted to bump this, as there has been an upsurge in Charalin or Charalin-mixed characters lately.

And a couple of things that I’ve noticed commonly or incorporated myself:
In referencing whether or not one is an adult (i.e. has gone through the ‘education’ of living alone in the wilderness, apart from the clan), I commonly use the phrase ‘blooded’ – i.e. don’t treat me like a child, I’m a blooded wo/man of the People. During the education of the Charali, the children bleed from their hardships of living alone and bleed the animals they kill in the hunt, so they have brought their own and others blood down upon them. That's the idea, anyway.

It’s become more common to use Brother/Sister between Charalin of different clans, however, it is not common to use it amongst Charalin and non-Charalin. It is not uncommon for there to be bias against mixed-Charalin, unless they were born, raised, or spent considerable time in the Plains and using Plains culture. So a mixed-Charalin would not necessarily earn the moniker Brother/Sister and it may be presumptuous for one of them to do so.

Also, mad props and thanks for this. I use this as a basis for a lot of stuff on my character and always get compliments for it. :)

Ah! Thank you! This is really helpful! It's nice to have all of the charali stuff in one place so I can quickly find a specific part of charali culture I'm trying to remember while RPing.