Скрипторий: Archetype - thlipit contestant (howl of the wild)
Назад к списку всех объектов Howl Of The WildКак это работает
Это страница объекта Скриптория, в первой части показан ее статус и вывод оригинального объекта.Объект может иметь следующие статусы: Нет перевода, В работе, На проверке и Переведено.
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Если объект в статусе "Нет перевода", то любой зарегистрированный пользователь может взять этот объект себе в работу - тогда для него откроется вторая часть этой страницы с редактором. Обратите внимание, что текст объекта представлен в виде HTML текста. Вам не нужно умение писать html код, но самое минимальное умение его читать - да.
После того как вы взялись за перевод этот объект закрепляется за вами на 3 дня. Если в течение этого времени вы не отправите свой перевод, то статус объекта скинется обратно в "Нет перевода" и он снова станет доступен для других пользователей.
Одновременно один пользователь не может иметь в работе более 5 объектов (объекты "На проверке" не учитываются), это количество считается по всем источникам в Скриптории. - Если вы взялись за перевод, то объект получит статус "В работе" и откроет для вас редактор полей этого объекта, подробная информация будет внутри этого раздела (там много).
- После отправки перевода объект перейдёт в статус "На проверке". Администратор проверит перевод, внесёт коррективы при необходимости и утвердит перевод. Если всё очень плохо, то перевод будет отклонён.
- Если объект в статусе "Переведено", то одобренный перевод будет отображен на этой странице, а сам Источник станет на шаг ближе к завершению. Когда Источник будет завершен и размещён в общей базе данных, автор перевода будет указан на сайте на странице этого объекта как пользователь, предоставивший перевод.
СТАТУС:
НЕТ ПЕРЕВОДАArchetype - thlipit contestant (howl of the wild)
Thlipit Contestant
Archetype
Source Howl of the Wild
According to folklore, the thlipit martial art began with a wager. A group of bored tripkees looking for a little sport devised a game of using their tongues to gather fruit out of nearby trees. As the competition wore on and the bets escalated, the contestants began snatching falling fruit in midair and even using their tongues to push away the competition. While the names of the original competitors vary between tellings, all agree that the contest ended with a particularly magnificent tongue flick, landing an overripe mango squarely upon a losing bettor's head.
No matter the origin, variants of the game and the martial art it spawned have become mainstays in tripkee society. In contrast to other fighting styles, thlipit doesn't stand on ceremony or rigid discipline. Practitioners refer to themselves as contestants and play off the forms and moves as mere exercises or games. Despite this veneer of frivolity, thlipit can be just as dangerous in the mouth of an adept as any other weapon.
Thlipit combines fluid movements reminiscent of whip fighting with the leverage of a wrestler's stance. It favors quick smacks, brief grabs, and short throws. Friend, foe, and the contestant themselves always remain in motion. Moves are often exaggerated to play up stylish elements for spectators or lure brash opponents into attacking early.
No formal schools exist to teach thlipit. Many tripkees are familiar with the style from childhood games, even if they haven't developed the physicality to be considered a true contestant. Self-directed instruction remains common, though aspiring contestants will seek out veterans and ask to be taken on as apprentices. Even though this sort of self-directed instruction happens frequently, a veteran contestant will still occasionally take on a student or two to pass along particular forms or styles.
Though thlipit originated with tripkees, tripkee migration to Vidrian and other population centers has exposed other peoples to the sport. Most notably, thlipit has become popular with the recent generation of iruxi youth, who have adapted it for use with a tail rather than a tongue. Though not every move is possible with a tail, they have added their own innovations to the style.
According to folklore, the thlipit martial art began with a wager. A group of bored tripkees looking for a little sport devised a game of using their tongues to gather fruit out of nearby trees. As the competition wore on and the bets escalated, the contestants began snatching falling fruit in midair and even using their tongues to push away the competition. While the names of the original competitors vary between tellings, all agree that the contest ended with a particularly magnificent tongue flick, landing an overripe mango squarely upon a losing bettor's head.
No matter the origin, variants of the game and the martial art it spawned have become mainstays in tripkee society. In contrast to other fighting styles, thlipit doesn't stand on ceremony or rigid discipline. Practitioners refer to themselves as contestants and play off the forms and moves as mere exercises or games. Despite this veneer of frivolity, thlipit can be just as dangerous in the mouth of an adept as any other weapon.
Thlipit combines fluid movements reminiscent of whip fighting with the leverage of a wrestler's stance. It favors quick smacks, brief grabs, and short throws. Friend, foe, and the contestant themselves always remain in motion. Moves are often exaggerated to play up stylish elements for spectators or lure brash opponents into attacking early.
No formal schools exist to teach thlipit. Many tripkees are familiar with the style from childhood games, even if they haven't developed the physicality to be considered a true contestant. Self-directed instruction remains common, though aspiring contestants will seek out veterans and ask to be taken on as apprentices. Even though this sort of self-directed instruction happens frequently, a veteran contestant will still occasionally take on a student or two to pass along particular forms or styles.
Though thlipit originated with tripkees, tripkee migration to Vidrian and other population centers has exposed other peoples to the sport. Most notably, thlipit has become popular with the recent generation of iruxi youth, who have adapted it for use with a tail rather than a tongue. Though not every move is possible with a tail, they have added their own innovations to the style.