The Culture of Liktwm
Historical Overview
It is the general consensus of modern-day historians that the initial Liktwmic population was derived from primitive hunter-gatherers who survived off of the the various megafauna which inhabited the Kwlkekkimw basin some 40 000 years ago. As global climate shifts led to the gradual desertification of the region, these populations began to cluster around the shrinking livable region around the river itself, presumably developing agriculture and the first permanent settlements. Whatever rich and unknown cultures existed in the riverine valleys of the Kwlkekkimw were largely homogenized over the centuries leading up to 7000 YA by the rapid ascension of the Pottery A culture, which is understood to be the direct predecessor of all recorded mythic-period Liktwmic states. It is from this stock that the vast majority of the modern Liktwmic population is derived.
War and Technology
Warfare was a part of everyday life for most of the early civilizations. Various city states and petty kingdoms competed vigorously for the limited arable land along the banks of the river. Living in an environment that suffered from a dearth of wood and a near-complete absence of metals, most tools had to be constructed from sharpened stone and woven reeds, bound together with plant or animal-derived fibers. Notable weapons are the stone-tipped tirl war-club, the snwt sling, and the twnik spear. Armour and shields seem to have been composed of woven reeds closely resembling wicker. Transportation between the cities was conducted through the river, with large reed barges, and later on with broad-hulled boats, woven from the same material and sealed with watertight resins.
Government
The need for organized irrigation efforts contributed strongly to the organization of Liktwmic civilization into a collection of highly-centralized, hydraulic despotisms. A few instances of less stratified societies are attested to in the archaeological record, but receive little mention from their contemporary record-keepers, possibly due to an outright suppression of the stories of their existence by later, more theocratic kings. Early kingdoms on the Kwlkekkimw tended to possess a single monarch and his family, a simple bureaucracy for organizing the maintenance and timing of irrigation, an artisan class and an overwhelmingly large mass of subsistence farmers. By the time of the Mrkids, this organization had evolved considerably. The monarchs of this period are elevated to the position of a demigod, the bureaucracy had spawned a complex priesthood, and the peasant levies that composed most armies were beginning to be supplanted by professional soldiers.
Religion
While the earliest religions of Liktwm are unknown, archaeological records from the Pottery A culture show numerous hints that various forms of river-worship were in place. While it is almost impossible to determine what exactly the humans depicted on these vases represent or who they may be, the recurring element of transformation appears in several pieces dating back to roughly 6000 years ago, found near the region that would become the pre-Mrkid Kingdom of Nwrlikt. These preserved pottery pieces, display a male figure, presumably the patriarch Kwlkekkimw, becoming the river, alongside a structure that appears to be the Godtree and a pregnant woman one assumes to be Samikatw.
In brief, Liktwmic creation mythology is as such: The world cycles between times of creation and times of destruction. Following one of these latter eras, Kwlkekkimw and Samikatw wandered through the dead land of Liktwm, and ascended to the cirque of Sepekwemek. Here, Kwlkekkimw cast his holy staff, Mirw- also called the Godstaff- into the earth. Transforming into the Godtree, Mirw developed fruits which grew into every plant and animal. Kwlkekkimw, meanwhile, was transformed into water, and stretched from Kwlkekkimw all the way to the distant ocean, bringing life to the dead lands in between. Alone at Sepekwemek, Samikatw gave birth to nine daughters and a son, Mkwektw. The children grew strong in their home at the holy cirque, and when they came of age Mkwektw took a sharpened stone and eviscerated his mother, returning her body to join her husband.
At this point, the mythology becomes inconsistent. The nature of Samikatws death- whether she was murdered, willingly sacrificed or eaten remains debated, although it is universally believed that her remains were cast into Kwlkekkimw. Some sects maintain that her bones became the reeds that grow along the length of the river, while others hold to the doctrine that her body became the first city. Believers in the former consider Samikatw to be a patron of tools and a giver of technology, while believers in the latter declare that this contradicts Mirws creation of all life, and instead ascribe to Samikatw a position as a guardian of homes and cities.
Regardless of this schism, the story upheld by all schools then follows that Mkwektw bedded each of his sisters, and then traveled with them downstream to create the first city. Modern Kings all claim direct male descent from Mkwektw, making them direct heirs of the river itself, which is the entity most deeply cherished by the Liktwmic people.
The role of gender in Liktwmic religion is also quite varied. Several schools associate holiness with Kwlkekkimw exclusively, and by extension with maleness. Unsurprisingly, this belief tends to be practiced in the more patriarchal societies of the Kwlkekkimw. A less-common, but still significant (at the time of the Mrkid Empire) is the belief that Kwlkekkimw and Samikatw were separate but equal manifestations of humanity, one who provides and one who shelters, or one who fertilizes and one who is fertile. Regardless of where one falls in this debate, however, it is widely accepted that Mirw is the creator of all life, and as it did this alone, it is genderless.
Adherents to Liktwmic faith follow several general trends. They worship the river as a life-giver and patriarch, and believe in a great natural and holy cycle wherein all elements gradually and cyclically transform into each other- humans die and become the earth, the air, the river and any other of a wide variety of things. Great clay-engraved codices record these great cycles, providing answers to many secondary questions of origins asked by the young and curious. The world is everlasting, but life is ephemeral- some day, Liktwm will meet its demise, and a single couple will escape with a staff bearing the spirit of Mirw to renew the cycle.
Liktwmic religious rituals are numerous. All who live along the river make regular pilgrimages to their great father. Religious ceremonies are conducted in the shade of the Mirw trees, which are one of the few species of tree which manage to grow along the Kwlkekkimw. Staffs and holy implements are on rare occasions carefully excised from these knotted, gnarled trees, but wilfully kill one of these holy trees would be a heinous affront to the faith.
Culture and Art
Liktwm has an ancient tradition of pottery which has not disappeared in the least over the last several thousand years of civilization. Art and architecture alike show a marked tendency towards naturalistic shapes, manifesting in a preference for asymmetrical curves, an avoidance of right angles and the use of tessellation and repetition of larger trends in smaller details.
Liktwmic buildings are typically made of reed and mud brick. Modern constructions are often produced with bleached white facades, decorated with stucco patterns. The hot climate has led to the development of open designs, providing shade but allowing the circulation of air. The use of woven reeds to create vents and window-like structures has also been recently explored. It is only in very recent times that the people of the river valley have begun to engage in monumental architecture, bringing in large amounts of stone from vast quarries in the desert or the southern mountains.