Culture of the ethnic Gallente
The culture of the ethnic Gallente is known for its highly self-expressive nature and artistic quality. Rather than the cultural arts of the ethnic Gallente being something to reinforce the social order, it often challenges it. As a platform for individual self-expression, these practices commonly come with complex and nuanced philosophical implications, designed to progress the status quo from generation to generation. Provocation is a key element, challenging previously established morals and principles with new and fresh ideas, resulting in a vibrant and progressive culture. This is often ridiculed as decadent and hedonistic, but in almost every case, individuals who stereotype ethnic Gallente culture like this have not taken the time to consider the thousands of subtexts involved.
Outside of self-expression, provocation and subtext, neo-classicalism is another unique element of the ethnic Gallente artistic cultures. The most frequent manifestation of this is the revival of pre-modern practices that are updated for the contemporary era, notably using the latest technology, such as stage shows that use extensive holographics. The latter only became prevalent after first contact with the Amarr, whom many ethnic Gallente saw as an anachronistic yet fascinating nation who had somehow managed to carry their ancient culture into the stars.
The non-politicized and individual-focused nature of ethnic Gallente culture has resulted in its ability to influence the cultures of other empires (with the notable exclusion of the Amarr). For example, large portions of contemporary State culture, be it entertainment or fashion, is simply an extension of what both civilizations shared in Luminaire centuries ago, albeit in a notable Caldari flavor and style.
The arts to the Gallente of Luminaire cover the visual, performing and the literary, with the latter (along with music) detailed further on. In complete contrast to the Amarr (for example), the Gallente arts are inclined towards original creations from individual artists, and have not been dictated from the top-down.
Though the Gallente are innovators in many artistic endeavors, one particular aspect merits mentioning, if for no other reason than that it often serves as a convenient emblem of the Gallente mindset. Due in no small part to Luminaire’s proclivity for pushing the boundaries, experimental Gallente artistry has become so elaborate that, to much of the unacquainted, it seems virtually unintelligible.
As an example, in many avant-garde Gallente narratives, the story is embedded within layers of satire-upon-meaning-upon-satire and predicated upon subtle movement and form; as a result, the whole endeavor of the audience becomes less about following plot and more about how to interpret the piece based on the nuanced complexity and convolution of its presentation as seen through its relevance to the individual viewer.
For this reason, while a typical Gallente fan of this particular branch of art may sit rapt, a non-Gallente might watch an entire stage performance where nothing appears to have happened at all. Furthermore, in many Gallente works these convolutions will turn in on themselves several times, creating meta-layers of meaning that Gallente critics and academics love to mull over endlessly, but which seem like vacuous and pretentious maneuverings by those less interested in the intricacies of narrative analysis.
Actual practices vary from ancient to contemporary, to anything in between, drawing from all nations and cultures across Gallente Prime (extinct or otherwise). Though Garouner arts are particularly commonplace on the interstellar scene, there are plenty of other practices from the homeworld that are popular, primarily from cultures that did not have to endure any hardships due to a harsh climate and/or ecology. With plenty of spare time, many activities were indulged in, which developed the high arts within those nations.
Theater is popular, a vehicle for philosophical playwrights to express their ideas to a wider audience, through multiple genres including dance and opera. Some stage plays have been so provocative in the past, that they have precipitated entire revolutions within ancient and early modern nations. Even in the modern Federation, several plays have challenged the current social order on multiple occasions. The arts is often its own platform for activists, playing its role in the progressive political scrutiny that the Federation is known for.
The traditional Gallente performing arts have many stylistic similarities with the Amarr, but to contrast, there are many fundamental differences. For starters, philosophy within Amarr arts almost universally represent the same, long-established truths around the Scriptures, with ideas descending from the top in this regard. Gallente artistic representation is the opposite, ascending from the individual’s own creativity to explore anything from political corruption to racism. Much of modern Gallente politics has roots in these arts, whereas Amarr arts comes from its politics. Another difference is the aesthetic. Gallente performing arts favor all different colors and tonalities, versus the Amarr preference to keeping within a particular shade.
There are plenty of Gallente arts, however, which are more indulgent and less inclined to exploring philosophical concepts. This is particularly true of artistic products which are made for the purposes of exporting to the wider New Eden market, for two main reasons. The first is that if the product was politically provocative, it may prove culturally offensive and may be rejected from foreign distribution. The second is that the product may simply prove nonsensical to the wider market.
Some artists have been critically scathed for ‘dumbing down’ certain works for foreign consumption, with accusations of selling out for the profit opportunity. A collection of these critics believe it is imperative for the integrity of a work to remain as it is whenever it is exported, in order to demonstrate Gallente cultural superiority to other peoples, or at least influence them in this regard.
Gallente visual and performing artists have proved, by far, the most receptive to integrating modern technology within their works, often to the gripe of the more classically-minded. Holographics is used extensively within modern music and theater, though plenty of traditionalists seek to carry out a stage show with as little modern technology as possible, which in turn has its own charm to specific audiences.
These holographics can be so advanced that they are capable of changing the environment of the stage, or even the entire venue, depending on the song or scene. Even the costumes of the performers can be changed seamlessly, to the point that some theater productions can be conducted without a single physical prop. Musicians are particularly fond of holographics, creating illusions to surround the audience and drum up collective effervescence.
Architecture is another avenue for artists to explore using modern techniques. The Gallente are the masters of civil engineering and city-building in many respects, seeing architecture as the marriage of art and engineering, as opposed to simply building something to serve a specific purpose (though the Amarr have their own understanding of this concept as well).
A Gallente architect sees the construction of a building as their own blank canvas, with their purpose ranging from expressing an idea through a design, or simply to build the most extreme or grandest construct ever devised. This practice is ancient, with the most well-known testament to this being the Sanctuary of the Seventh Goddess in the city of Caille on Gallente Prime, one of the panoply of gods from an ancient era. Historians remain baffled as to how primitive technology was able to construct what remains to be the tallest structure in the city. As a nod to cultural history, the Caille authorities have made it illegal to construct any building which may match or exceed the height of the Sanctuary’s spire.
Many architects who wish to escape cultural conservatism on Gallente Prime migrate elsewhere to explore their own ideas. As a result, there are cities in the Federation with bizarre and even downright alien architecture, sometimes with questionable structural integrity. The Gallente cultural favoring of gems has spawned the very unique creation of crystalline cities, that can be found in richer parts of the Federation. These massive, multi-tiered conglomerations often fuse the local flora in their designs, in a way that no matter what tier one is on, the illusion of always being at ground level is projected. Though these cities appear crystal (the color of which depends on the local environment), they are still very much built on solid foundations of brickwork and steel.
Preserving the local flora and fauna is very important when the Gallente construct their cities, as is matching the architecture to the environment the settlement finds itself in. For example, some indulgently-constructed cities on magmatic worlds incorporate lava streams and pools seamlessly within public thoroughfares, often to the great concern of Federal health and safety officials. More famous examples of bold Gallente architectural endeavors include Gallente underwater cities and the former Seyllin I. Overall, as the Gallente see architecture as yet another platform for individual artistic expression, the cities of the Federation vary immensely from place-to-place.
Literature is an often overlooked foundation of Gallente culture to those both inside and outside the Federation.
The value of knowledge to Gallente citizens contributes to the tendency of them generally being more politically aware than citizens of other nations, with many devoting their efforts to one or more of a multitude of causes that suit their ambitions. Gallente literary works are almost endless, stretching back many hundreds of years and covering countless different authors. Ranging from fictional epics to poetry, the Gallente have many great thinkers (such as Fouel and Geremande) who have been credited with laying down the foundations for contemporary political and philosophical thought, both on Gallente Prime and across the wider Federation.
Many of the modern concepts of human rights, libertarianism, the rule of law and good governance traces back to both ancient philosophers, who explored the metaphysical world and its implications for free will, destiny, and the individual spirit, and early modern academics who were at the forefront of the enlightenment that brought about the homeworld’s globalization of democracy.
As mentioned previously, the comfortable nature of Gallentia (the Garoun continent primarily) meant that hardships were not as extreme as they were on other worlds, so there was plenty of free time for the populace as a result. This allowed the development of a cultural elite who would undertake a variety of intellectual pursuits, laying down the framework for the future Gallente.
The Gallente cultural idea that anyone can be immortalized through literature, regardless of occupation or background, is why it is often the case that conscientious objectors and altruists earn just as much respect as those of famous leaders or war heroes. Great human feats, whether spectacular military victories or tremendous acts of kindness, can be romanticized through novels and poems, with no bias to a certain kind of deed in particular.
The hunger for knowledge amongst the Gallente is why they are often known for their inquisitive nature, though the widespread consuming of academic literature (be it political journals or university publications) tends to make them highly opinionated. The pursuit of objective truth, as well the focus on impartiality amongst Gallente education systems, means that honesty has become a highly valued virtue to the Gallente. Similarly, historical epics have influenced the popular mindset to the point that Gallente individuals are widely recognized for their selflessness and valor, particularly when they sense the freedoms of others are threatened. In living up to the literary legacy of King Rouvenor, many Gallente men seek to be generous in their friendships, while being ardent adversaries.
In the modern era, concepts such as interstellar existentialism and secular ethics have roots in Gallente Prime literature, while constitutional law and other legal matters in the Federation (and, to a lesser extent, the CONCORD Assembly) are influenced by early modern and contemporary Gallente academics. The Servant Sisters of EVE and countless third sector organizations in other empires have adopted values of charity and humanitarianism similar to those of altruistic Gallente beliefs that stretch back as early as the Garoun era, where the Rouvenor dynasty upheld the beliefs of having an ethical and moral ruler that would champion themselves as the defenders of the downtrodden, all of which are documented in literary works written by the monarchs themselves. The social policies and high moral standards of the Federal government are influenced by these ideas.
Some Luminaire cultures has very defined concepts of masculinity and femininity (despite its potential contradiction with the concept of individualism), with both genders being equal and having their own unique strengths that must be utilized to the full. These thoughts originate from feminist works that stretch back to the end of the Industrial Age on Gallentia, continuing to influence the behaviours and cultures of ethnic Gallente women in the Federation. This influence is directly felt in Gallente matters of state, with the Federation having a much larger ratio of female heads of state and government than other empires, particularly in peacetime.
It is often the ethnic Gallente woman that is commonly invoked as a symbol of the modern Federal citizen, all because of the role of feminist Luminaire literature generations prior (as well as the lack of gender-inhibiting religious institutions in more archaic times). Extremely confident models of self-empowerment, they are known for their hard work ethic balanced with a strong pursuit of leisure. Both fiction and non-fiction espouse the ideal woman as being very creative and resourceful, to be known for their assertive yet kind nature, with an outgoing and lively spirit. This “contagious zest for life” belief has been at the forefront of the emancipation of women in many societies, most notably the Jin-Mei, which has caused some tension in the past.
In all the above instances, poetry has played a key role. Though many cultures in New Eden have poetry in their traditions, it is widely regarded as a modern form of commercial entertainment in the Federation, to the point that many colonial projects (government or otherwise) seek to fulfill a quota on the amount of poets alongside other occupations such as doctors or engineers. The Gallente poetic scene is, like with music, constantly evolving through the cross-cultural interaction that the modern era permits. While there are millions of poems that emerge from the homeworld and many other Gallente planets, it is one of the very few entertainment sectors in the Federation where foreign penetration can sometimes be greater than the domestic output, as there is far less opportunity for consumption and profit opportunities for poetry in other empires.
The Gallente consider the preparation and cooking of food and drink as a form of high art. It is for this reason that Federation-based megacorporations have been able to dominate the food services industry across New Eden, to the point that even if a restaurant appears to follow one cultural origin, it is often Gallente chefs that run things from behind the scenes.
The Gallente Prime homeworld is biodiverse, resulting in a great many amount of animal and plant species that has created millions of different recipes from that single planet alone. Similarly, more ecologically homogeneous worlds such as Caldari Prime or Intaki have their own unique produce which cannot be found anywhere else, interacting with recipes from Gallentia and other worlds the ethnic Gallente have settled, creating an even larger encyclopedia of foods. To the Gallente, a specific recipe of food or drink does not hold any binding cultural significance (such as Caldari kresh Tea), so as a result, cuisine is seen as only limited by the amount of biological life in the universe, which is quite possibly near-infinite.
Overall, Gallente cuisine seeks to combine as many different ingredients from across New Eden as possible, cycling through endless different recipes as a result. Though there are some Luminaire traditionalists who prefer recipes specific to the homeworld, this is generally a niche market. To some observers, food and drink has been a very effective vehicle of Gallente cultural projection, mustering its influence onto worlds and amongst peoples in what is perceived as an extremely unthreatening form of encroachment (particularly when considering there are much harsher methods of cultural warfare).
There are some well-known recipes and traits of Gallente high cuisine amongst the citizens of New Eden, variety aside. For meals, the meat and vegetable balance is important, as is the general health and nutritional content, while appearance is just as key to a fine dish as taste. Salads are thus quite popular, with the ability to combine vegetables from hundreds of different worlds to create unique dishes and pieces of edible artwork.
Desserts, sweets and other confectioneries provide another avenue of creating extravagant and flamboyant dishes, using natural ingredients where possible to cover every color imaginable. There is generally a social stigma against using cloned, genetically modified or otherwise synthetic foodstuffs, as consumers do not believe the food to be genuinely ‘authentic’. That said, various Gallente megacorporations, particularly Quafe and its legion of subsidiaries, are known to mass-produce ‘fast food’ on an industrial scale, which has seen great success on space stations and similar arcological constructions. Such food is generally looked down upon by Gallente chefs and the more well-off public.
Other than soft drinks, a major Luminaire contribution to the New Eden beverages market is wine made from berries and grapes found within medial climate zones on a variety of different worlds. Before water purification techniques came about on the homeworld, wine was consumed widely, as well as lily and marshland tea to a lesser extent. Amongst the Rouvenor and some Ancient peoples, wine was a cultural symbol that was consumed for the same reasons as tea or psychoactive stimulants amongst other ethnicities, either recreationally or for ‘encouraging’ philosophical thought. However, it is often stereotyped as being a hedonistic drink of decadence by other cultures, and in some practices, this is not far from the truth.
The Gallente have a unique contribution to the interstellar wine market (of which the Federation dominates by far) through the production of champagne, which is a form of sparkling wine that requires a very specific climatic zone, estimated to be present on less than twenty temperate worlds in the Federation. A bottle of champagne is thus rare and expensive, and so it is a status symbol amongst many Gallente peoples. There is much reverence to connoisseurs who have been successful in not opening a bottle that is over a century old. A notable producer of champagne is Feille d’Marnne from Egghelende III, the drink being impossible to cultivate anywhere else in the Federation. Each case is worth an interstellar fortune as a result.
Gallente fashion accounts for a leading portion of contemporary New Eden clothing, with areas such as the Coriault constellation being at the forefront of the industry. Styles range from casual and functional to wild and eccentric. Fashion is seen as an avenue of self-expression to the Gallente, who seek to communicate their personalities and preferences in life through the clothes they wear. It is said that if one walks down the street of a town on any modern Federation world, a thousand different clothing styles will be on display. These styles vary further depending on the climate and/or ecology of a world, the Gallente having proven adept at creating fashionable clothing for even harsh desert or arctic environments.
Influences and proliferation
As with many aspects of contemporary Federal culture, Gallente fashion has incorporated elements and motifs from other cultures, blended together and reproduced into new styles every month of the interstellar year. There are, however, plenty of standalone and unique contributions the Luminaire peoples have granted to clusterwide fashion, particularly amongst cultures who lacked any concepts of casual clothing.
The polytextile t-shirt is one such contribution, notable for its functional and comfortable design that allows it to be easily mass-produced on a wide-scale across New Eden. Caillean leather and synth-leather is another, more readily identifiable in its Gallente origins than the t-shirt, which has become somewhat universal in the current day. It is widely imitated both inside and outside the Federation, being found in places as far as Dam-Torsad on Athra. It is quite common for tourists to explore remote communities on farflung worlds, to discover certain inhabitants wearing items of Gallente clothing that are hopelessly out-of-date, depicting brands or celebrities who died out many years ago.
Mannar, one of the oldest members of the Federation, has always had a strong influence on Gallente style and trendsetting. Much of the eccentric tailoring favored by society’s elite and decried as immodest and inappropriate by the other empires has its roots in pre-Federation Mannar culture, which included different concepts of modesty and etiquette. Massive hairstyles and elaborate body- and face-painting still feature prominently in addition to semi-opaque fabrics which respond to a variety of programmable stimuli.
So much of high Gallente fashion has been lifted from the Mannar peoples, that the connection to its origins in the latter culture is no longer made, used as a stereotype Federal culture as a whole. In truth, only the upper echelons of society can hope to afford the extravagant fashion styles that the wider nation is ridiculed for, though the average Gallente is nonetheless quite fashion-conscious, seeing clothing as an important representation of self-identity. In terms of the melting pot culture, the influence of Gallente trendsetting on New Eden fashion can be seen both inside and outside the Federation
For men, the modern day ‘business suit’ has its origins amongst the Garoun nations during Gallente Prime’s late Industrial Age, tracing back to tri-corner hats and tailcoats worn by the nobility and gentry. Said suit originally involved a blazer, tie and felt hat for males (amongst other things), before it was adopted by several other cultures after first contact, most notably the Caldari. The usage of hats and ties has mostly been dropped in the contemporary era, particularly after wealthy Minmatar began to wear business suits not long after the Republic was founded.
Much of Minmatar non-tribal wear is Gallente in origin, with some notable styles being inspired by the clothing of engineers and aviators from the Gallente industrial era, though recent cultural revivals under Shakor’s Republic seek to look at similar fashions during the ancient Minmatar Empire. Both have proven quite popular amongst the Gallente in the Federation, as well as the ‘punk’ look which dominates several Minmatar/Gallente subcultures. The Amarr, being their own cultural bastion that has existed in space for thousands of years, was never really influenced by Gallente fashion, excluding the introduction of casual clothing amongst poor Commoners and slaves.
For females, a popular source of trendsetting is from legacy states on Gallente Prime that still retain a ceremonial monarchy. Queens, princesses, and other female members of royalty are hounded by culture journalists, reporting their findings to interplanetary fashion houses, who will then seek to reproduce ‘authentic’ copies for the mass market. Some of these designs have not changed in centuries, or even thousands of years, though many monarchies have updated their range of fashionable royal robes and dresses according to contemporary tailoring techniques. Particularly popular female and relatively younger members of the Federal Senate are also scrutinized for their choice of senatorial garments, which is also another source of trendsetting for the upper class consumer.
Gallente fashion designers also take from Amarr women’s wear, particularly dresses worn by Holders and nobles, and then repurpose such designs for the Federation’s market, varying the original’s levels of modesty. Many Amarr consider this insulting, and sometimes blasphemous depending on the design in question, but it remains a simple fact that many Gallente are more than happy to brush shoulders with the slavery-endorsing Empire at every opportunity.
Despite the lifting of women’s wear from the Amarr, there are plenty of indigenous designs that are organic and contemporary progressions from clothing worn on the homeworld, and are not simply reproductions of royal fashion. There can be simple, thin dresses made from a single rime of fabric, modern updates of flowing historical garments, to outlandishly elaborate designs that would require a small army of personal assistants and/or drones if one hopes to slip in and out of the implement without damaging it.
Luminaire fine jewelry stands out for its inclusion of gemstones, with emerald having a particular cultural significance in the history of the Garoun Empire. Gemstone embroidery in robes and dresses are popular, the exact mineral in question varying depending on the overall color of the design, and whether or not it matches. Gallente gemstone-based jewelry often competes with Amarr gold-based designs for interstellar market dominance, though the combining of both materials has hardly proved offensive.
The Gallente regard music as key to their culture of self-expression, and since every individual in the Federation express themselves their own way, the music likewise varies between many different genres, then again from planet to planet. The domination of the Gallente entertainment industry clusterwide means that mostly all forms of contemporary music are based off of Gallente genres.
While every culture retains their traditional styles, the prevalence of Gallente music within the interstellar industry meant that the only way for others to stand a chance of competing was to adopt the musical standard that the Federation had set. Even then, the musical divergences over time has made some genres perceived as more associated with one particular culture, with its Gallente origins long forgotten.
Genres of Gallente popular music (and thus New Eden popular music as a whole) are seemingly endless, ranging from folk to heavy metal, electronic to symphonic. These genres can often incorporate the traditional instruments of other cultures, with Minmatar tribal pop or Amarr religious rock being two of hundreds of subgenres. The combinations constantly change and evolve as the market shifts, and only a handful of musicians and groups are able to persevere in the spotlight for more than a few years. AI musicians provide a cheap way for music companies to keep on top of the ever-changing market, forgoing the burdens of a human musician.
Certain genres of music have come about as a direct response to certain cultural changes on Gallente Prime and beyond, representing a sandbox for individual or collective voices to express their personal and political ideologies. Heavy metal and other rawer genres of rock developed as a form of social rebellion against governments that were perceived as repressive or authoritarian, and it is for this reason that the genre has proven immensely popular amongst the Minmatar, who now have their own homegrown variations.
Folk music has persisted in retaining the cultures and practices of tribal groups from Gallentia that have since been assimilated over the centuries, as well as championing environmentalist thought. On the other end of the sociocultural ladder, orchestral music’s continued prevalence is important to cultural traditionalists for maintaining the legacy of the Rouvenors and other pre-industrial states (though they are plenty of heavy metal and rock groups who base their orchestration and lyrics off of ancient legends and myths). Finally, of course, electronic music always evolves alongside corresponding developments in digital technology.
Modern musicians have been able to combine traditional instruments with the advanced domestic and lifestyle technology that the Gallente are known for, or even completely original instruments based off of this tech. Dance suits that are programmed to play music to the wearer’s movements is a notable example, with groups being able to rival the orchestration of a classical symphony with their dance numbers alone.
The manipulation of holographic interfaces is another popular form of musical composition, ranging from spheres that surround the entire user to more standard shapes such as handheld cubes and surfaces. Depending on how the interface is struck, whether with a punch or sweep, the sound and tonation varies. Certain musical genres that use holoinstruments can be quite physically demanding for this reason, though there are other genres that rely on a more gentle playing style.
Gallente classical music was primarily influenced by the Garoun Empire in the latter years of the Rouvenor era, and was carried on by all successor states and Garoun-influenced cultures since. In keeping with the sometimes extravagant nature of the Gallente, classical music is composed of large orchestras that include (but are not limited to) brass, string, woodwind and percussion instruments. Smaller assemblies include string quartets and brass bands, while there are numerous folk groups that utilize lesser instruments such as fiddles, guitars and bagpipes.
The Gallente orchestra format has been adopted by other cultures while using their own unique styles of composition, such as the Caldari not long after first contact, and later the Jin-Mei. In the modern era, there has been a lot of cultural exchange between Luminaire and Amarr composers and musicians. Classical vocal work, meanwhile, is much more diverse than Gallente orchestral, ranging from operatic sopranos and tenors accompanying theatrical performances, to gentle choirs of feminine voices designed to be set to scenic planetary locales or stellar nebulae. In contrast with Amarr classical music, female choirs (both contemporary and classical in style) are notably more common than male groups.
There are two main branches of modern ethnic Gallente folklore. The first is based on ancient Rouvenor legend, particularly around the philosopher-king Doule dos Rouvenor III and the Garoun Empire. To many ethnic Gallente, he is considered one of the few sincere statespeople in human history, as well as the so-called ‘grandfather of democracy’, making his name and legend timeless. The second major branch lacks a tangible definition, but generally covers the cultures of ethnic Gallente who are no longer tied to their ancestral homeworld, having been settled on other planets for many generations now. Anything from stellar anomalies to unique planetary features can be the starting point for these particular pieces of folklore.
Rouvenor legend includes the characters and mythology surrounding the days of the Garoun Empire. These tales, which includes monsters and magic, can be fictional, or at least fictional takes on historical facts. Some of the details have become so blurred that, over the centuries, certain fantasies are interpreted as reality, and a handful of realities seen as myth.
The character of Rouvenor and other parts of the folklore has been carried across space in some areas, the king being immortalized as an interstellar spirit that encourages Gallente to venture to new frontiers, as seafaring explorers once did on the homeworld. It is rumored that artifacts of Rouvenor and the Garoun Empire have been scattered across the Federation. Capsuleers are often contracted out to recover these items (which are almost universally replicas or fakes
In modern entertainment, there are many products that are based off of Garoun history and legend. Rock bands, fantasy or historical holoreels, novels, and games are just some mediums based off of the folklore. Traditionalists may prefer theater or opera, either contemporary stories or exact reenactments of ancient plays.
Of note, production companies and writers of Jin-Mei animation have taken up a strong following of Garoun tales, as well as the Gallente's industrial era. The hundreds of serials created do not always relate to Rouvenor politics and history directly, and may follow an individual character’s adventure in another land during the same time period. These productions tend to be significantly more fantastical than classical Gallente versions, or otherwise quite romanticized.
The other branch is not associated with Luminaire mainstream culture. The lack of enforced social and cultural compliance or conformity has allowed extreme divergences to take place in the area of folklore (as with Gallente culture overall). In space settlements, local stellar phenomena might be the foundation for folklore (such as the Lutins). On planets, folklore will vary from place to place, though there may also be Federation-wide beliefs adapted to the local environment. Gallente that have encountered indigenous peoples may pick up the beliefs of those groups, or may have blended with them over time until the lines between the two groups have blurred beyond previous definitions.