0°的兽是没有限制的宏观，也是最无力的limitation。但是是一切度数的基本。
度数越高越微观，因为limitation越来越大所以是从最原始的protonym里解脱
universe俗諦 （时空大观）--》ethos大悟 （史诗）-->phantasm幻想 （音乐）--->fetishism 妄執 （论语）----> (bios) eros 沉默 （聋哑）---》 ! (?)
trinimalacath的ogham只存在于不可再分割的刹那中，时间是要反着被切割粉碎，直到超过ogham的关门达到彼岸。
反着氏族神的“从小到大”的递进规则，在最后一步把个体智慧粉碎成不可分本我他我的感知源泉。
self affirmation is self liberation.

顺便谈一下帝国人的style material，nickel
1. nickel字源 old nick
2. nickel某百科，最早发现时
{was mistaken as} the ore for a copper mineral, in the cobalt mines of Los, Hälsingland, Sweden.
blake不知道会怎么想
copper铜，古典青铜器和货币的原料。
cobalt---Kobold哥布林，地精，Orc(?)的一种
Los---Sol
Hälsingland---(blazon: Sable, a Goat rampant Or attired and hoofed Gules). Bafomet(?)
A notable geological feature {there} is the Dellen lake system, created from flooded meteoric impact craters.
sweden:
The boar as a warrior also appears in Germanic cultures, with its image having been frequently engraved on shields and swords. They also feature on Germanic boar helmets, such as the Benty Grange helmet, where it was believed to offer protection to the wearer and has been theorised to have been used in spiritual transformations into swine, similar to berserkers. The boar features heavily in religious practice in Germanic paganism where it is closely associated with Freyr and has also been suggested to have been a totemic animal to the Swedes, especially to the Yngling royal dynasty who claimed descent from the go
满是猪头人orc的符号。
上面提到的pyrite的化学coupled substitution在
NiO and TiO和hematite里面也有体现
Ni= Imperium, Ti=titanium
hematite
The English name of the stone is derived from Middle French hématite pierre, which was taken from Latin lapis haematites c. the 15th century, which originated from Ancient Greek αἱματίτης λίθος (haimatitēs lithos, "blood-red stone").
lorkhan的血做的amulet of kings。
含有haematite的clay粘土又叫ochre
Ochre is a clay that is colored by varying amounts of hematite, varying between 20% and 70%.[8] Red ochre contains unhydrated hematite, whereas yellow ochre contains hydrated hematite (Fe2O3 · H2O). The principal use of ochre is for tinting with a permanent color.[8]
The red chalk writing of this mineral was one of the earliest in the human history. The powdery mineral was first used 164,000 years ago by the Pinnacle-Point man, possibly for social purposes.[9] Hematite residues are also found in graves from 80,000 years ago. Near Rydno in Poland and Lovas in Hungary red chalk mines have been found that are from 5000 BC, belonging to the Linear Pottery culture at the Upper Rhine.[10]
Rich deposits of hematite have been found on the island of Elba that have been mined since the time of the Etruscans.[11]
tharnnus of red ink有没有可能是这里来的？（用lorkhan的血给精灵当编史的scribe)
ochre：
The word ochre also describes clays coloured with iron oxide derived during the extraction of tin and copper.[4]
Ochre is a family of earth pigments, which includes yellow ochre, red ochre, purple ochre, sienna, and umber. The major ingredient of all the ochres is iron(III) oxide-hydroxide, known as limonite, which gives them a yellow colour.
Yellow ochre, FeO(OH)·nH
2O, is a hydrated iron hydroxide (limonite) also called gold ochre.
Red ochre, Fe
2O3·nH
2O, takes its reddish colour from the mineral hematite, which is an iron oxide, reddish brown when hydrated.[5]
Purple ochre is identical to red ochre chemically but of a different hue caused by different light diffraction properties associated with a greater average particle size.
Brown ochre, also FeO(OH), (goethite), is a partly hydrated iron oxide.
Sienna contains both limonite and a small amount of manganese oxide (less than 5%), which makes it darker than ochre.
Umber pigments contain a larger proportion of manganese (5-20%), which makes them a dark brown.[6]
地球上在史前人的涂料里有用过，还有是古埃及，古pict族和古罗马涂脸的红土胭脂
The Ancient Picts were said to paint themselves "Iron Red" according to the Gothic historian Jordanes. Frequent references in Irish myth to "red men" (Gaelic: Fer Dearg) make it likely that such a practice was common to the Celts of the British Isles, bog iron being particularly abundant in the midlands of Ireland.
Roman triumphators painted their faces red, perhaps to imitate the red-painted flesh of statues of the Gods.[16] The Romans used yellow ochre in their paintings to represent gold and skin tones, and as a background colour. It is found frequently in the murals of Pompeii.
Red ochre in Ancient Egypt was used as a rouge, or lip gloss for women.[18] Ochre-coloured lines were also discovered on the Unfinished Obelisk at the northern region of the Aswan Stone Quarry, marking work sites. Ochre clays were also used medicinally in Ancient Egypt: such use is described in the Ebers Papyrus from Egypt, dating to about 1550 BC.
高精野精的金皮肤我觉得做一个这样的伪典故很有意思。从泥土里而来(clay),被lorkhan血(hermatite)和limonite(lodestone, coursestone, charismatic stone, 命运石，历史）染成金色。然后没想到nickel加上titanium和lorkhan混血了。
In Ancient Egypt, yellow was associated with gold, which was considered to be eternal and indestructible. The skin and bones of the gods were believed to be made of gold. The Egyptians used yellow ochre extensively in tomb painting, though occasionally they used orpiment, which made a brilliant colour, but was highly toxic, since it was made with arsenic. In tomb paintings, men were always shown with brown faces, women with yellow ochre or gold faces.[17]
这段无关但是有意思
During the Renaissance, yellow and red ochre pigments were widely used in painting panels and frescoes. The colours vary greatly from region to region, depending upon whether the local clay was richer in yellowish limonite or reddish hematite. The red earth from Pozzuoli near Naples was a salmon pink, while the pigment from Tuscany contained manganese, making it a darker reddish brown called terra di siena, or sienna earth.[34]
The 15th-century painter Cennino Cennini described the uses of ochre pigments in his famous treatise on painting.
This pigment is found in the earth of mountains, where particular seams like sulphur are found. And there, where these seams are, sinopia, green earth and other types of pigment are found...And the abovementioned pigments running through this landscape looked as a scar on the face of a man or of a woman looks...I went in behind with my little knife, prospecting at the scar of this pigment; and in this way, I promise you, I never sampled a more lovely and perfect ochre pigment...And know that this ochre is a common pigment, particularly when working in fresco; that with other mixtures that, as i will explain to you, it is used for flesh colours, for drapery, for coloured mountains and buildings and hair and in general for many things.[35]
从kyne--->mara--->dibella天衣无缝