Osiris is a Restorer. Returning nations are refounded here.

WA Delegate: The Power-Abusing Pharaoh of Federation of the Resentine Kingdom (elected )

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Most Nations: 3rd Most World Assembly Endorsements: 370th Most Valuable International Artwork: 2,851st
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Welcome to Osiris, the Land of the Dead, where nations stir and the Osiris Fraternal Order reigns!


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[ Regional Tablet ]


Congratulations to the Regional Message Board Contributor Yoiiatin!



  1. 30

    📚 The Golden Book of Ma'at

    MetaReference by Hieroglyphs . 3,971 reads.

  2. 4

    Osiris Regional Message Board Code of Conduct

    MetaReference by Tethys 13 . 104 reads.

  3. 12

    Osiris Hall of Fame

    BulletinNews by Tethys 13 . 809 reads.

  4. 6

    📚 The Malachite Book of Ma'at

    MetaReference by Guhrayen . 440 reads.

  5. 22

    📚 The Reddened Book of Ma'at

    MetaReference by Hieroglyphs . 2,549 reads.

  6. 5

    The Sekhmet Volunteers

    MetaGameplay by Osiris Legion Recruitement Center . 308 reads.

  7. 11

    The Order of Restoration

    AccountDiplomacy by Guhrayen . 487 reads.

  8. 18

    📚 The Paled Book of Ma'at

    MetaReference by Hieroglyphs . 1,038 reads.

  9. 17

    Osiris Yearbook [2024]

    MetaReference by Luna State . 261 reads.

▼ 6 More

Map

This is the map of Osiris created by The Aquatic Librarian Knights of Tethys 13 . It has 9,605 estimated diplomatic weight behind it, the most in Osiris. It is one of 39 maps of Osiris.

Embassies: Valle de Arena, The Black Hawks, Caer Sidi, The Brotherhood of Malice, Eientei Gensokyo, The Glorious Nations of Iwaku, Yggdrasil, Altino, Land of Cash, Karma, Suspicious, Malphe, One big Island, Japan, Ijaka, Conch Kingdom, and 5 others.Sparkalia, Astoria, Warzone Africa, The Communist Bloc, and fluffy bunny.

Tags: Anti-Fascist, Featured, Game Player, Gargantuan, Governorless, Invader, LGBT, Monarchist, National Sovereigntist, Offsite Chat, Offsite Forums, Regional Government, and 2 others.Restorer, and Social.

Regional Power: Very High

Osiris contains 12,184 nations, the 3rd most in the world.

Today's World Census Report

The Lowest Crime Rates in Osiris

World Census agents attempted to lure citizens into committing various crimes in order to test the reluctance of citizens to break the law.

As a region, Osiris is ranked 7,135th in the world for Lowest Crime Rates.

NationWA CategoryMotto
1.The Vickenian Protectorate of MaxStatDemocratic Socialists“By the blood of our brethren shall we triumph”
2.The Grand Nation of AraraukarCorrupt Dictatorship“Do as I say or it's the last thing you'll ever do.”
3.The Most Serene Holy Queendom of Smart Cookie BookiesPsychotic Dictatorship“Click to learn. Click to obey. Click to fire.”
4.The Totalist State of DindrenziCorrupt Dictatorship“Marxism-Leninism is the light that guides us.”
5.The Holy Empire of KarolosiaAuthoritarian Democracy“Aut Vincere Aut Mori”
6.The Divine Infinite Technocracy of Dragonian AllianceInoffensive Centrist Democracy“In the Extremes, Truth is Known”
7.The Incorporated States of So88erInoffensive Centrist Democracy“Peace on this piece of earth”
8.The Decrepit Senators of President Pro TemporePsychotic Dictatorship“Signed, Robert C. Byrd, President Pro Tempore”
9.The World Census in service of SVR2200Psychotic Dictatorship“We here to seed the universe”
10.The Republic of SaltanyasLeft-wing Utopia“Work is Play”
1234. . .1,2181,219»

Last poll: “What should we run for our mid-month competition?”

Regional Happenings

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Osiris Regional Message Board

Tethys 13 wrote:Question of the Day:

If a work of fiction were to be set in your nation, what genre might be particularly suitable?

Horror. If you're alone and hear someone calling for your name deep in the woods at night, forbid yourself from ever entering, that voice belongs to the souls who wandered too far.

Tethys 13 wrote:Question of the Day:

If a work of fiction were to be set in your nation, what genre might be particularly suitable?

i'm pretty sure it would be some overly complex dystopian book, like a mix of 1984 with house of leaves.
maybe a sprinkle of brazil in there (the dystopian movie not the country)
This would be partially because i larp as a psycho dictatorship, and partially because the bureaucracy here rivals the byzantines.

Tethys 13 wrote:Question of the Day:

If a work of fiction were to be set in your nation, what genre might be particularly suitable?


1934 Canada with bears everywhere and always snowing

New land of cats wrote:i'm pretty sure it would be some overly complex dystopian book, like a mix of 1984 with house of leaves.
maybe a sprinkle of brazil in there (the dystopian movie not the country)
This would be partially because i larp as a psycho dictatorship, and partially because the bureaucracy here rivals the byzantines.

I am a monarchy and I am a rival of china

Tethys 13 wrote:Question of the Day:

If a work of fiction were to be set in your nation, what genre might be particularly suitable?

Probably a political thriller. Something involving the post civil war power struggles as corporation-aligned rebels attempt to re-establish their power against a monarchy which is trying to open up after decades of authoritarian rule.

Tethys 13 wrote:Question of the Day:

If a work of fiction were to be set in your nation, what genre might be particularly suitable?

There are quite a few suitable options, such as a disaster film, given the Republic's vast variance in geography and terrain, as well as its particular sensitivity to climate change-related issues such as sea level rise and floods. Typical action war-like, particularly rebel-oriented, movies are a good option too, given the Republic's not-insignificant amount of military interventions and bullish foreign policy. Additionally, a feel-good coming-of-age story would be surprisingly suited, as youth in the Republic may face exceptionally high expectations given how many resources and freedoms they are provided to flourish, as well as the sheer overwhelming nature of having such a strong ability and freedom to manifest one's destiny right from the beginning of their adult lives, and the feeling of being overshadowed by everyone else also being given these same opportunities and resources. However, I think the most suitable and captivating would be a sort of Orwellian/Huxleyan-esque spy political thriller, almost dystopian but not in the typical Hunger Games "everything sucks, and it's very obviously a dystopia" sense.

The Republic engages in extensive espionage operations, covert actions, and all-around undermining of foreign governments, organisations, and individuals, so already there is a lot of basis for hypothetical scenarios and events in this domain. On top of this, though, the Republic holds a moral assuredness and righteousness in its actions, backed by a firm and genuine belief and support from the public, which makes questioning its actions arguably more scrutinised than the actions themselves. It delivers genuine and undeniable good in a lot of its actions, but not all of these actions align with its principles, and sometimes the good they bring may involve subtly removing other good options. Because I'm now curious, Imma write a sort of general gist of what one of these movies might look like, haha.

The plot centres on an intelligence officer involved in a long-running foreign operation inside a dictatorship that the Republic is attempting to undermine and ultimately overthrow. Publicly, the operation has produced genuine good: it has opened refugee pathways, exposed corruption and human rights abuses, protected dissidents, and brought international pressure against the regime. The dictatorship is unquestionably oppressive, and many people have been saved through the Republic’s intervention. As the protagonist becomes more deeply involved, however, they discover that the operation has not protected every opposition movement equally. Groups aligned with the Republic have received weapons, intelligence, funding, and favourable international exposure, while opposition factions that reject both the dictatorship and the Republic’s influence have sometimes been deliberately abandoned, and even secretly exposed to the regime. Compromising information about allied groups has been suppressed, while evidence against the regime has been selectively released. The Republic has also armed insurgent organisations not only to weaken the regime, but to create sufficient political and economic instability that the population becomes frightened, desperate, and more willing to rally behind the Republic-backed opposition.

The regime remains irrefutably brutal, but its brutality becomes the moral justification through which the Republic advances its own strategic and ideological control. The Republic sincerely believes that its constitutional principles would improve the country, and this may even be true. The deeper problem is that it treats the success of those principles within its own borders as proof that the foreign population should eventually adopt them, align with the Republic, or become incorporated into it. Rather than asking what political future the population wishes to construct for itself, the Republic increasingly asks what that population would choose if it were properly informed, liberated from propaganda, and capable of exercising what the Republic considers genuine democratic judgement. The protagonist cannot defeat this system merely by exposing what happened. In 1984, state power depends heavily on fear, information control, and the ability to define reality. In the Republic, the relevant source of power is credibility; what might be called its moral armour. That credibility is reinforced by the population’s lived experience: ordinary citizens know that their parents received world-class cancer treatment without charge, that disabled neighbours were provided with fully accessible homes, that corrupt councillors have been recalled and prosecuted, and that refugees from the dictatorship now live in safety and dignity within the Republic. When the protagonist reveals manipulation, selective protection, civilian harm, and unlawful interference, the public does not need to believe that the evidence is fabricated; it only needs to believe that these acts occurred within a fundamentally humane project.

The Republic itself would not necessarily deny the protagonist’s claims. The intelligence agency would argue that inaction would have produced worse outcomes. A congressional inquiry might acknowledge serious procedural failures and violations of law while concluding that the operation’s broader objective remained consistent with the Republic’s constitutional and humanitarian responsibilities. The media would present the investigation openly, including the operation’s abuses, but would also highlight the refugees rescued, the atrocities exposed, and lives saved. The protagonist cannot prove that the Republic is secretly evil. They can prove only that it committed morally disturbing acts while pursuing an objective that most citizens continue to regard as righteous. The story would also contain distinctly Orwellian elements in the Republic’s political language. Terms such as "democratic enablement", "anti-coercive disruption", and "informational liberation" would not be entirely false, but they would conceal the degree to which the Republic has deprived the foreign population of political agency. Officials could argue that the population is not yet capable of expressing its authentic democratic will because it remains shaped by propaganda, trauma, religious or nationalist conditioning, elite manipulation, and insufficient civic education. Foreigners are therefore considered free to choose, but only after the Republic has dismantled everything it identifies as coercing or distorting their choices.

Unlike 1984, however, there is no central conspiracy and perhaps no one who consciously believes they are lying. The intelligence officers believe in the mission. The judges believe they are balancing competing rights. The journalists believe they are presenting the necessary context. The public believes that the Republic is imperfect but fundamentally humane. Each person performs one defensible part of the process, and no individual feels responsible for the imperial structure created by their combined actions. The system is sustained not by centrally imposed deception, but by distributed certainty: a society-wide confidence that the Republic’s intentions, principles, and historical achievements make its fundamental moral judgement trustworthy. The protagonist does not reach this conclusion through abstract political theory. It begins when their intelligence work brings them into direct contact with the foreign population. They encounter people who oppose the dictatorship but are equally distrustful of the Republic, including dissidents who resent being treated as instruments of someone else’s liberation project. Some acknowledge that the Republic has saved lives while still believing it has denied their society the right to determine its own future. These views are shocking to the protagonist, who has spent their entire life believing that the Republic acts on behalf of humanity rather than in pursuit of conventional national power. They are forced to confront the possibility that the people they are supposedly liberating may not recognise the operation as liberation at all.

As the contradictions become impossible to ignore, the protagonist eventually becomes a whistleblower. They expose the operation’s unlawful conduct, selective manipulation, civilian consequences, and conflict between its publicly declared purpose and its underlying strategic objectives. Crucially, the Republic protects them. They are removed from their position and given legal counsel. Their evidence is reviewed, public inquiries are convened, some officials are disciplined, and parts of the intelligence agency are restructured. The Republic issues an apology, compensates those harmed, and introduces new oversight requirements. On the surface, the system appears to have corrected itself. Yet the underlying doctrine remains untouched. The institutions still believe that the Republic possesses a special responsibility to guide foreign societies toward freedom as it understands it. The environment of moral certainty that produced the abuses remains intact. The protagonist’s complaint has been investigated, acknowledged, and administratively resolved, allowing the Republic to cite the entire affair as evidence of its openness and ethical superiority. The system has not suppressed dissent; it has absorbed dissent and transformed it into proof of its own legitimacy.

The public does not denounce the protagonist as a traitor. Instead, people regard them with sympathy. They are seen as traumatised by their work, psychologically overwhelmed, or so consumed by the operation that they lost the ability to distinguish institutional wrongdoing from the illegitimacy of the Republic as a whole. Most people accept the facts they revealed while rejecting the meaning they attach to them. The protagonist is judged correct about the operation but mistaken about the system. Their eventual fate combines public success, civic rehabilitation, and private surrender. Their disclosures lead to genuine reforms and prosecutions, but they are also encouraged to undergo treatment for trauma and reintegrate into ordinary civic life. They return to a society of safety, comfort, meaningful work, and strong personal relationships; a life incomparably better than the world they witnessed during the operation. Their resistance is gradually sanitised and incorporated into official history. Schools teach the scandal as an example of how the Republic’s democratic institutions identify and correct abuse, turning the protagonist into part of the mythology of the very system they attempted to expose. Over the following years, the urgency of their beliefs slowly fades. They are not tortured into submission, disappeared, or forced to confess. They are defeated by comfort, social acceptance, visible reform, and the overwhelming evidence that the Republic continues to do immense good. Eventually, they begin sincerely repeating the same argument once used against them: “You do not understand how much good this system does.”

The ending is therefore not a victory for the protagonist, even though their actions produce real change. Their dissent strengthens the Republic by demonstrating its capacity for self-correction, while leaving its deeper moral assumptions intact. The protagonist does not surrender because the Republic proves that they were factually wrong. They surrender because the system makes it increasingly difficult to believe that its wrongdoing outweighs its achievements. In the end, the Republic’s greatest defence is not coercion or censorship, but its ability to make resistance appear unreasonable in the presence of so much genuine good to the point that even the resistor no longer believes in their own resistance.

Lowkey might make that plot into an actual lore bit... I have always wanted my society to be genuinely imperfect and therefore more grounded, hence why I try to avoid saying crime is non-existent, everyone is happy, they've never gone to war, etc. This could absolutely serve as proof that the hypothesised dystopia from an older question is already occurring in some ways, even if not in the complete managed-alignment sense it discussed, and it also shows that just because the Republic has managed to address and solve many contemporary issues, it now faces newer and more complex issues that would undoubtedly arise in such a system.

Hallo, have a good day, am leaving to go to my storage region now!
(leaves a million metric tonnes of waffles as I leave the region)

Question of the Day:

What media overuses a trope or character archetype you find particularly annoying?

Tethys 13 wrote:My answer:
Warhammer 40,000 has quite an irritating habit at the moment of creating characters who spent the entire 10,000 year period between the Horus Heresy and the current time of the setting scheming. The reason for this is that, with the advent of Primaris marines, the writers have been encouraged to concentrate everything of importance into the most recent era of the lore, and so these characters spent the previous ten millennia 'not doing much'. This is especially stupid as those characters were almost all no more than a century or two old when they started this scheming, which rather than indicating them as intended to be brilliant masterminds biding their time to enact their master plans, instead portrays them all as thundering dullards so utterly inept at strategy it took them a hundred lifetimes to design a plan that then, because the setting still needs to exist, stalls almost immediately after being enacted.

You can submit questions at: https://forms.gle/TuYTCv2sEZjBDkWr7

Tethys 13 wrote:Question of the Day:

What media overuses a trope or character archetype you find particularly annoying?

I am not really sure. I usually only watch Youtube.
Not in too many shows though I watch there are annoying characters.

Tethys 13 wrote:Question of the Day:

What media overuses a trope or character archetype you find particularly annoying?

The trio of protagonist, dumb boy and girl trope.

Tethys 13 wrote:Question of the Day:

What media overuses a trope or character archetype you find particularly annoying?

fake out death

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