The culture of the Nassians is wide and diverse, but like the people themselves, it is divided between the continents of Hetherovon and Lyssthrophivon. The culture in these continents has been shaped both through tradition of the Nassians themselves as well as by the shared values that have been developing within these continents throughout recent eras.
Many civilisations feel the need to believe in something higher than themselves, no matter how advanced they may be. This is also true for the Nassians, and while they do not have wide-spread organised religion, they do have a prevalent spiritual belief system that is present throughout much of Nassian society. They find solace and comfort within each other, closeness and physical touch, which forms the core of Nassian spirituality. Additional influences can be found within nature and the cosmos.
The Nassians have many holidays based around their spiritual beliefs. The most notable of these is Solar Conjunction Day, which is when the twin suns of Ssala and Neipha overlap, almost as if embracing. There exist more common partial Conjunctions where the suns overlap partially and full Conjunctions where the suns overlap fully, although these are much rarer.
These beliefs permeate much of daily Nassian life, most notably in romantic relationships. Nassians are polyamorous, with even the smallest Hetherovonian relationships consisting of around 3-4 partners while the largest Lyssthrophivonian polycules frequently hit double digits. Marriage (known as conjunction) is also legally recognised between multiple partners, and the traditional time to marry is during a Solar Conjunction. Bonus points if it's a full one!
Due to the Nassian's spiritual beliefs, the body is considered a very sacred thing and something to be cared about and maintained. As such, small enhancements that highlight the natural beauty of the body, such as piercings and body painting, are very highly regarded. However, more radical modifications that betray the Nassian form are frowned upon greatly.
For example, prosthetics in Nassian culture are, in the vast majority of cases, treated in much the same way as ours: a medical necessity and nothing more. As such, they're as common among the population of Mythhaler as they are on Earth (though technologically more advanced). There are a few fringe groups who see them as a way to “transcend the flesh”, though this is a widely disapproved position to take. One notable group is the “Scales Of Iron”, who believe in the “machine apotheosis” and try to spread the word to others. With the level of technology the Nassians possess, this is not impossible, to an extent, but in most cases serious complications occur.
When the Contingency was announced, such groups treated it as a form of legitimisation, though the program itself has been quick to dismiss and discourage these ideas.
Nassigussa take a very ‘hands-on’ approach to art… literally. Nassigussan art is primarily based on painting without implements or tools like brushes. Instead, fingers and tails are used to create strokes, creating complex images. Body painting is also a big fixture of Nassigussan art, which carries over into Nassoid design as well. Spiritually, it’s believed that physical contact with the painting is the best way to get your emotions into art, since the Nassigussa are a very tactile species. Hence, body painting is popular as stated before, but so is sculpture to a lesser extent.
Throughout the history of Nassigussan art, many movements focusing on different aspects of life and history took place. The most recent one involves the use of negative space and shadows as the key focus, developed after the Contingency and the process of creating ‘negatives’
In Lyssthrophivonian culture, music is at the heart of community building. The most widespread genre is akin to some folk music, with large ensembles, and a repertoire ingrained in collective consciousness. Instrumental pieces are often accompanied by sung texts, recounting the epic tales of ancient Nassigussa. While this mythology is now well documented, the oral tradition was originally the only way these tales were passed down. In a more recent development, the well-known melodies and texts of Lyssthrophivonian music have been reclaimed by Nassian activists for a number of causes. These palimpsests often feature elements of call-and-response and thus offer ease of memorisation.
A very popular instrument is the Luthion, a hybrid between a bowed and plucked string instrument (a cello-guitar, if you will). It features two sets of strings. At the top, three thick strings, typically played using a small bow made of plant-based fibers, which act as a sort of bass. This part is played using the upper limbs of a Nassian. Then, further below, we have six thinner strings which are plucked using the lesser limbs. While elaborate melodies are often played on this part of the Luthion, it can also be used to be play chords as an accompaniement.
Lyssthrophivonian music also heavily features percussion. While tambourines are routinely used, a more practical and widespread percussive instrument is the Nassian tail itself, thumping rhythmically on the ground. Additionally, Nassians often clap along to songs: more musically inclined Nassians are even able to dissociate their sets of arms to create polyrhythms. Body percussion in Nassoids offers a distinct sound which many Lyssthrophivonian bands looking to modernise their music specifically seek out.
In Hetherovon, there has been a rise in the popularity of electronic music. It is often fully instrumental, as the Nassian language is “too soft” for the harsh, metallic, rhythmic sound sought after. After all, dental and plosive sounds are not at all a part of Nassian language. The genre was pioneered by a group of Nassoids creating songs by sampling sounds they could make using their chassis. Now, it is much more sophisticated, with a number of softwares dedicated to the creation of such music.
After the Sundering Quake, the region of Lyssthrophivon which was split from the rest of the Lyssthrophivonian landmass began to adopt a style of music which incorporated elements from both northern and southern genres into a completely unique folktronica-esque style. The development of this style became a symbol of hope after the terrible crisis which left many Lyssthrophivonians feeling out of place, or far from home. Things were different now, but they had not lost themselves.
The Nassians are already very expressive, so the most popular and widespread theatrical style is meant to be intense and bold. The oldest records of plays performed include reenactments of ancient Nassigussan myths and folk stories, in more informal settings than at the theatre. These proto-theatrical traditions served as both ritual and entertainment, with audiences actively participating, correcting, or embellishing the narratives as they were performed. However, the increasing pressure and general distress around the threats to Mythhaler led to a pivot in tone and subject matter. Multiple dramas about the horrors of Nemosis-5 and the Sundering Quake, for instance, started being published then performed. They explored the traumas of recent history. These were gritty, aching, sometimes speculative in genre, reimagining past disasters or conjecturing new ones yet to come.
In response to this, a quieter countermovement began to form. Some playwrights turned their attention to the everyday, simple life plays. They were focused on the mundane: friendships, awkward dinners, running a shop, washing out a stain. Some were romances: not dramatic, not tragic, just perfectly fine. In their ordinariness, these plays provided relief, humour, and even joy. They invited audiences to celebrate the survivable and the small.
Nowadays, theatre in Mythhaler is thriving with a little bit of everything: mythic retellings, experimental sci-fi horrors, understated comedies, etc. Crucially, it is no longer a passion project or just some communal ritual, Nassians can make a living as an actor, writer, or crew member. It is entirely a viable career path!