The 'Odyssey' remains one of the oldest literary works still read today. The ancient Greek poet Homer is considered the author of the 'Iliad' and the 'Odyssey'. However, scholars are uncertain about Homer's real existence; some believe he was a fictional character whose works were transmitted orally and later recorded in poetic form in the late 8th century BCE.
'The Odyssey' consists of 24 books and tells the story of the return of the king of Ithaca, Odysseus, home after the ten-year Trojan War, which lasted for ten years. During this journey, Odysseus's ships sink in storms, he is imprisoned for seven years, visits the underworld, and fights numerous monsters, demons, and gods.
There is no archaeological evidence that anyone named Odysseus ruled Ithaca. Nevertheless, some researchers hypothesize that Odysseus might symbolize the memory of one or more real Mycenaean rulers. In oral traditions, the names of important leaders often endure for a long time, even when historical details fade, and the stories of different people can merge into one mythological hero, making Odysseus a complex, blended personality.
Thus, Odysseus is likely not a historical figure whose life can be fully reconstructed, but as a character, he reflects real aspects of Mycenaean monarchy, sea voyages, wars, and diplomacy. Although the historical roots may be real, the surrounding story has turned into a legend.
Even if archaeology cannot confirm Odysseus's existence, it demonstrates the truthfulness of some parts of the world described by Homer. Important settlements from the Late Bronze Age Mycenaean period have been discovered on Ithaca. Although none of them can be called Odysseus's palace, they attest that the island was part of the political landscape of the Mycenaean period.
The political structure of Odysseus's state is also similar to the known system of Mycenaean Greece. Local rulers governed relatively small territories centered around fortified palaces but recognized the leadership of more powerful rulers—such as Agamemnon from the 'Odyssey'. This model corresponds to evidence obtained from various sites, including Mycenae, Pylos, and Tiryns.
Odysseus is the son of Laertes and Anticlea, the husband of Penelope, and has a son Telemachus. He is the ruler of the small island state of Ithaca and commands a fleet of twelve ships during the Trojan War. His story in the 'Odyssey' focuses on the ten years spent returning home after the end of the Trojan War. During this time, he confronts monsters and overcomes storms sent by the gods.
Homer portrays him under the guidance of the goddess Athena, presenting him not just as a brave warrior, but as a cunning, wise warrior. In the 'Iliad', he fights with the greatest Greek heroes and often acts as an advisor at councils. The Greek kings Agamemnon, Menelaus, and Nestor respect him. His main trait is metis, that is, practical wisdom, cunning, and the ability to solve problems strategically, not just through force.
Odysseus blinded the Cyclops Polyphemus not through his immense strength, but through his cunning. He ordered his crew to tie the ships to the mast to avoid the seductive songs of the Sirens. When he and his companions pass by the Sirens—creatures half-bird, half-woman, whose music lures sailors to death—Odysseus cannot resist their singing.
Odysseus is very curious. When they pass by the nymphs, his companions ask him to come out, but he insists that they plug their ears with wax and wool while he remains tied to the mast to hear what it is like. His influence is felt even today, as, unlike other Greek heroes such as Achilles, Perseus, and Heracles, he is perceived more as a wise and far-sighted person than as a mighty warrior. It is constantly emphasized in the stories that he conceals his identity, takes on the guise of other people, and deceives people to achieve his goals.
During his ten-year journey back to Ithaca, Odysseus faces numerous dangers. The most famous of these is the Cyclops named Polyphemus, who captures Odysseus and his comrades captive. Polyphemus begins eating his companions and threatens to eat everyone, but Odysseus cleverly avoids this fate.
He treats Polyphemus to a large amount of wine, and then, when he loses consciousness, Odysseus blinds him by driving a sharp object into his eye. However, Odysseus's attack has consequences. Poseidon, associated with Polyphemus and being the god of the sea, prolongs Odysseus's journey back to Ithaca, causing storms and destroying his fleet.
Along his way, Odysseus also encounters the god of winds Aeolus, who gives him a bag containing all the winds except the west wind that would take him back to Ithaca. He also narrowly escapes the Scylla and Charybdis, and he encounters the sorceress Circe, who turned many of Odysseus's men into pigs. Odysseus persuaded Circe to restore his men to human form using a herb called Moly. After this, a romantic relationship developed between Circe and Odysseus for a year, resulting in her giving birth to two sons.
Furthermore, Odysseus faced a huge whirlpool named Charybdis, which sucks in ships, and the six-headed monster Scylla, which abducted six sailors when Odysseus's ship came too close. The entire story of the 'Odyssey' revolves around Odysseus's courage, intellect, strength, and hope of returning home. While the 'Iliad' focused more on Achilles, the 'Odyssey' is entirely dedicated to King Odysseus.
Fiat celebrates 50 years in Brazil in 2026. The author of the article expresses great appreciation for the Italian brand, citing its early cars, such as the 1995 Mille ELX and the 2008 Mille Way, defending Fiat's ability to produce compact, affordable, and pleasant-to-drive vehicles.
Besides popular models, the text mentions conceptual Fiat cars launched in Brazil that did not receive the deserved recognition. The Tipo, which faced fire problems; the Marea, whose mechanics were considered too complex for the national market; and the Bravo, which, despite being beautiful and competent, arrived late in a declining category are cited.
Although some argue that current Fiat models have lost their former charm in favor of commercial success, the focus of the article lies in the vast universe of notable cars produced by Fiat internationally. In allusion to the brand's fiftieth anniversary in the country, a specimen classified as 'Half-Lost Find' is highlighted: a third-generation Fiat 124 Sport Coupé, manufactured between 1972 and 1975, which represents the peak of Italian design and engineering before the brand arrived in Betim.
The Fiat 124 was introduced in 1966 to succeed the Fiat 1300/1500 line, which, although reliable, was aging quickly. The goal of the 124 was to redefine the segment of Italian family sedans, surpassing the competition in terms of weight, efficiency, and dynamics.
One of the greatest innovations occurred in the chassis. Unlike its predecessor, which used semi-elliptical leaf springs on the rear axle—a robust configuration, but more geared towards utility use and with less roll control—the 124 implemented a rear suspension with coil springs, anchored by longitudinal arms and a Panhard rod. This more responsive rear end, combined with a light structure, rigid body, and four standard disc brakes (something unusual for a high-volume vehicle in the mid-60s), resulted in a safe, neutral, and enjoyable compact sedan to drive.
The architectural excellence of the 124 allowed it to evolve into a modular family of models. From the same chassis came the Familiare station wagon, the desired 124 Sport Spider convertible, designed by Pininfarina (which became legendary in the WRC with Abarth), and the 124 Sport Coupé, which offered the practicality of a four-door coupe with high engineering quality.
Globally, the sedan project was licensed to the Soviet Union in the early 70s, giving rise to the VAZ-2101/Zhiguli, precursor to the Lada Laika, which was widely used in Brazil in the 90s. Thus, the 124's base became one of the most durable platforms in automotive history, as the Laika remained in circulation in Russia until 2010 and in Egypt until 2015.
Focusing on the coupé, the 124 Sport Coupé enhanced the sedan's base in both design and performance. While the Spider had its design commissioned externally, the Sport Coupé was conceived at the Fiat Style Center by Felice Mario Boano, the same designer responsible for the iconic Ferrari 250 GT Boano. Boano maintained the original wheelbase of the sedan (2.42 m), ensuring adequate space for four adults without compromising the sleek and sporty lines of the notchback coupé.
The model was launched in 1967, in the AC series, featuring simple headlights, a dashboard with wood imitation finish, and a 90 hp 1.4 engine. This engine was historic for being the first mass-produced global DOHC (double overhead camshaft) engine to use a rubber timing belt instead of a chain. Its taillights were identical to those used on expensive sports cars of the time, such as the Lamborghini Espada and the Iso Rivolta.
In 1969, with the BC phase, there was a front-end redesign with dual headlights and taillights again inspired by a Lamborghini (in this case, the Jarama). The dashboard became darker and sportier, including a tachometer reaching 9,000 rpm. Mechanically, the car received the 110 hp 1.6 engine, fueled by two dual-body carburetors, characterized by its square dimensions (80x80 mm) and strong propensity for high RPMs.
The maturity of the project was reached in 1972, with the third and final generation, the CC. In this phase, Fiat modernized the front end with new chrome details, installed vertical taillights, and increased the trunk depth for greater load capacity. Internally, the wood coverings were replaced by brushed aluminum and new materials.
The mechanical highlight was the coveted 1.8 engine (1,756 cm³) from the Lampredi family, developed by Aurelio Lampredi. This four-cylinder, double overhead cam engine with a dual-body carburetor and electric pump generated approximately 122 hp, providing substantial torque at medium revs that drastically altered the vehicle's behavior. When coupled with the five-speed manual gearbox and rear-wheel drive, the setup replicated the successful formula of icons like the Alfa Romeo Giulia GT and GTV of that period: lightness, powerful sound, and great presence.
The specimen in question is a 1975 model, corresponding to the last year of production of the 124 Sport Coupé, and belongs to the desirable 1800 Climatizzata version. This means it left the factory equipped with air conditioning, which, according to the advertisement, is in perfect working order. Finding a 70s Italian sports classic with operational air conditioning in Brazil is considered an extremely rare occurrence.
Internally, the coupé maintains its four-seater functionality. The cabin has been carefully restored in the seats and door linings, but preserved the original factory trim on the front headrests, which are in excellent condition. Components such as the steering wheel, dashboard instruments, buttons, and turn signal key are original, maintaining the atmosphere and patina of the era.
Currently owned by Adriano Griecco, the car is advertised for R$ 105,000. This price is seen as quite advantageous in the current market for those looking for a European classic with rear-wheel drive and pure mechanical pedigree, being favorably compared to a similar condition Alfa GTV. Furthermore, the vehicle's documentation is impeccable, registered in the owner's name, without pending issues, and already possesses a Mercosul plate, eliminating bureaucratic concerns for the future buyer.
The Epic Games Store makes at least one free title available for download weekly, and this week, the game Foretales is available for free from July 23rd to July 30th. This card game presents a unique and narrative-rich approach.
Developed by Alkemi and released in 2022, Foretales is a card game that prioritizes narrative, blending elements of conventional RPGs, visual novels, and board games. Players take on the roles of anthropomorphic characters fighting against a curse that threatens to destroy the entire kingdom, set in a scenario dominated by a dark prophecy.
The game operates in two distinct modes: navigation and mission. In navigation mode, players select mission cards from various face-down options, potentially finding destination cards. These destination cards introduce negative events that occur over a predetermined number of turns (each completed mission equals one turn).
Destination cards not only create challenges but also generate new missions that must be resolved to neutralize the effect of the destination card. Upon accepting a mission, the player defines which characters will participate, and each possesses special abilities and unique effects to be used during the journey.
The dynamic within a mission differs significantly from traditional card games. Each mission has varied locations and is played sequentially, requiring players to employ their skills and consumables to resolve the situation, resulting in different outcomes depending on the card used. This allows for both gaining and losing resources, driving progress toward the mission's objective.
The presented events are diverse, covering dialogues, infiltration scenes, negotiations, and combat. The combat system follows a turn-based format similar to other card games, where each character has health and damage attributes, as well as special cards that can increase attack, health, or trigger other effects. This variety ensures that every mission is unique and playable multiple times.
Foretales features a fantasy narrative centered on Volepain, a thief raven tormented by future visions revealed through cards—an ingenious way to integrate game mechanics into the story. However, the most intriguing element is that every choice made by the player directly influences the unfolding of the game. Choosing violent solutions may incur penalties or trigger new plot events. Similarly, ignoring a destination event will have consequences, enriching and making the narrative extremely engaging.
This title is recommended for players who appreciate narrative games, which, despite offering many choices, maintain a fundamentally linear story conclusion. It is also ideal for those seeking an innovative card game that moves away from established patterns and conventions in this genre.
The Casa Dez Pés / Studio Font project is a solution for construction on challenging landscapes, based on the use of a repeating module that shifts by 50 cm in plan and 50 cm in cross-section. This allows the entire structure to harmonize with the existing vegetation and topography.
The building is located on rocky terrain with a slope of about 45°, at an altitude of 50 meters above Rinconcito beach in Mazunte, near Punta Cometa. Punta Cometa is a prominent rocky peninsula west of Mazunte, known for its open views of the Pacific Ocean. This site is the southernmost point of Oaxaca state and serves as a natural viewpoint with a 180-degree panorama combining the open sea, cliffs, and endless horizon, defining the project's territorial orientation.
The conceptual starting point for the house was to imitate the logic of Punta Cometa as a viewpoint meeting the sea. The architecture was reduced to the essentials: elevated roofs and slabs that function as living terraces, providing breeze passage and shade, as well as open spaces establishing a direct connection with the surrounding landscape.
The building's elevation allows for a design in direct contact with tree canopies, birds, ancient cacti, the sea, and the constant presence of Punta Cometa. The upper terraces accommodate the main life of the house, including an elevated pool overlooking both the ocean and the peninsula, as well as two pergolas and two sunbathing areas situated on different levels.
The central question was not what to build, but how to support these platforms on the cliff while avoiding invasive earthworks and large-scale excavation. Since the terrain is entirely rocky, heavy machinery is inapplicable, and all work is done manually. Consequently, the project uses a series of structural 'legs' that lift the slabs and rest point-wise on the ground, acting as isolated foundations.
These ten supports serve not only a load-bearing function. They also provide space for cabinets, showers, bathrooms, machinery, and storage, and help structure and divide various zones. In the tallest module, the supports are extended to accommodate two bedrooms and the main entrance, which is solved using floating stairs that seem to wrap around the existing rocks on the site.
Thanks to this strategy, the bedrooms are elevated, and the bed rests on a kind of pedestal, while the slab opens up, following the natural slope of the hillside. The project opens up to distant views as well as immediate vegetation, where the slope transforms into a vertical garden framing the architecture from the front and back.
As a result, the intervention minimally alters the landscape, preserving natural drainage and protecting the maximum possible number of existing trees. In three instances where trees could not be bypassed, they pass through the building, integrating directly into its spatial configuration.
Where the winding ridge of Punta Cometa meets the sea, the rock mass breaks down into rounded edges, eroded protrusions, and dense supports resistant to constant wave action. The project's structural columns replicate this formal state at the point where the architecture separates from the ground. Instead of solving these supports with straight sections and standard solutions, the project embraces the constructive complexity of curvature to match how the terrain meets the sea: without breaks, through forms capable of transmitting weight and stability via more organic geometries.
Unlike concrete walls and supports painted in the color of the terrain, wood plays a noticeable structural role in the large cantilevered roofs and pergolas. The roofs are made of a composite structure of lumber connected to a reinforced slab, allowing for large spans and creating deep shade on the living terraces. Compared to the mass and durability of concrete, wood in the pergolas lends a lighter and warmer feeling without losing structural capability.
Wood is also used in fixed furniture and blinds made of macuila—a dense and durable material suitable for local conditions of wind, salinity, and humidity. The builders' craftsmanship was critical to realizing these solutions. Walls are formed using hand-curved frames and ribbed formwork, allowing for enclosed curved corners with a continuous covering of resinous plywood. Instead of obvious textures or planks, the project chooses softness as a constructive and spatial criterion.
The development of the building was constantly adjusted according to local conditions. The working design was adapted in real-time as construction progressed, encountering stationary rocks, discrepancies in topographic surveys, cyclones, and storms, adjusting to the rhythms dictated by the place, climate, and local community.
Mazunte has an organized community that actively participates in caring for and managing its territory. The project was developed in close coordination with neighbors during both the approval stage and when determining infrastructure, layout, and execution of works. Construction relied on local networks for material supply and labor hiring, as well as direct purchases from residents of the immediate vicinity, integrating the house into the region's existing social and production processes.
The hydraulic infrastructure was solved by reusing an existing reservoir on the site and supplementing it with a biodigester for treating black and grey water. This system ensures biological waste decomposition and reduces the load on the immediate surroundings, avoiding traditional high-impact solutions. The strategy prioritizes adaptation and the use of what already exists over implementing additional systems.
The client summarizes the project experience, noting that what he likes most about the house is that he never remembers what it looks like. It is architecture that completely adapts to the terrain, supported by ten pillars and inhabited across multiple levels, until it dissolves into the natural complexity of the place.
