Greeting Nusantara Total War fans.
Today we are proud to present the graphic user interface
(GUI) for each culture. The GUI will be yet another way to represent the uniqueness and cultural identity of the people of Nusantara, in addition to the soundtracks, portraits and unit voices (which we plan to use the native tongues, not English).
The Malays are the natives of the Malay Peninsula, the east coast of Sumatra, and the coast of Borneo; the Minangkabau are native to central and western Sumatra. Various elements of foreign civilizations and cultures had a hand in the creation of both ethnicities' cultures. Indian, Islamic, and Western European culture each had their turn of influence on these peoples. Islam would end up the dominant religion of both ethnic groups, but each of the others had their own profound impact as well.
The factions that belong to this culture group are Melaka, Pagaruyung, Palembang, and Kota Merdeka (Malay Free States).
Stratmap UI Battle UI
For both UIs, the main panels depicted are the wood-carved motifs of “Pucuk Rebung” (Bamboo Sprout) and “Pucuk Paku” (fiddlehead fern). Wood-carved reliefs frequently adorn the doors, walls, and windows of traditional Malay houses. These reliefs frequently depict the various flowers and plants common in Nusantara, such as bamboo sprout and fiddlehead fern, which are parts of many native dishes.
The side panels for both UIs depict the “songket”, a type of brocade fabric hand-woven in silk or cotton and intricately patterned with gold or silver threads. Songket is a luxury product traditionally worn in royal courts or during ceremonial occasions, and frequently features various kinds of flowers and plants as motifs.
The Javanese, natives of central and eastern Java, are the largest ethnic group in Nusantara. After centuries of migrations, they can now be found in most areas of Nusantara. Due to intensive contact with India, the Javanese developed a culture parallel with, but not identical to, the Indian. Hindu, Buddhist and Javanese faiths blended into a unique local culture that has strongly influenced the Javanese, even more so than their embrace of Islam.
The factions in this culture group are Majapahit, Demak Bintara and Bhumi Mardika (Javanese Free States).
The main panels show the “Kayon” used in “Wayang Kulit” (shadow puppet) plays that are prevalent in Java and Bali. The puppets are made of leather that is carefully chiseled with fine tools and are supported by stick handles and control rods. The stories in the plays are usually drawn from the Hindu epics of the Ramayana and Mahabhārata. “Kayon”, from the Malay word, "kayu" (wood) is the “Tree of Life” in Javanese culture and faith.
The side panels depict “Batik”, a cloth that traditionally uses a manual wax-resist dyeing technique. Batik cloths have a diversity of patterns, and there are patterns specifically for infants, brides and bridegrooms, the dead, royal members and nobles. A person's status could be determined by the pattern of the batik he or she wore.
The main panel depicted the Javanese painting of Bhāratayuddha. Bhāratayuddha means "India's War" or "War of Bharat" - referring to the great battle of Kurukshetra, fought between the Kauruvas and Pandavas in the Mahabhārata. The side panels show “batik” motifs.
The Sundanese are an ethnic group native to the western part of the island of Java. Although geographically close to the Javanese homeland, Sundanese culture before the invasion of the Mataram Sultanate was very distinct from that of the Javanese. Their system of social heirarchy was noticeably less rigid. The common identity that binds the Sundanese together is their "Wiwitan" (Custom and tradition). Despite being exposed to Indian Hindu-Buddhist influences, the Sundanese did not embrace these religions, but maintained their own traditional religion until the arrival of Islam.
The only faction in this culture is Pajajaran.
The main panel depicts the Sundanese Batik of "Banyak Ngantrang", used by the Pajajaran King Ratu Jayadewata during his coronation ceremony. The side panels depict the Sundanese Batik of "Ragen Panganten", used by Ratu Jayadewata during his marriage to Nyi Ambet Kasih.
The main panel depicts the Sundanese Batik of "Hihinggulan Resi" mainly used by Pajajaran resi (Rishi). The red batik panel on the side depicts the motifs of “Kembang Loa”, the 'Ficus racemosa' or cluster fig tree. This plant is a symbol for the Sundanese philosophy about life.
The Acehnese are an ethnic group whos homeland is located on the northern-most tip of the island of Sumatra, and who have a history of political struggles against the Dutch. Their language belongs to the Aceh–Chamic group, and it is the only commonly spoken language in Indonesia that arrived, through migration, from mainland Southeast Asia. Malay texts describe that the Acehnese originated from the lands of the Champa Kingdom (in the region that is now Vietnam). The Acehnese migrated en masse to Aceh after the fall of Champa capital, Vijaya, in 1471. Situated at the doorstep of Nusantara, the Aceh homeland was the first region to receive the influence of Islam and established an Islamic Sultanate. The people developed into loyal Muslem devotees, generally considered the most conservative Muslim ethnic group in Nusantara. Aceh saw herself as an heir to Pasai, the first Muslim state in Southeast Asia. Aceh has often been called the "Veranda of Mecca," and became a major center of Islamic scholarship.
The only faction in this culture is the Aceh Sultanate.
The motifs on the main and side panels depict the designs used by Gayo people, known as 'Kerawang Gayo'. The Gayo are a tribe native to the central highlands of Aceh. The Gayonese language is distinct from Acehnese, but their culture, including song, dance, clothes, textile designs, architecture and carvings have influenced Acehnese culture. Kerawang Gayo is used extensively as a decoration on textile and wood carvings.
Historically, before being conquered by the Sultanate of Aceh and subsequent introduction of Islam, it is speculated that the Gayonese established their own pre-Islamic kingdom, known as 'Linge', in central Aceh. During the war between Aceh and the Dutch, Gayo was the last province in Indonesia to be subjugated by Dutch, remaining an Aceh stronghold used by Acehnese militants to launch guerilla attacks against Dutch, until being conquered and pacified in the 20th century.
The main panel depicts the Pinto Aceh, the design used to by the Acehnese to make gold and silver ornaments and adornments. The red coloured textiles on the side panels are the Acehnese 'Songket'.