Hi all,
TLDR: have visited 3 dentist (in Latin America) & received inconsistent advice. Two said I need my crowns redone. How can I get closer to the real answer? I am pretty sure I have a lot of cavities but not sure I need my crowns replaced. I’m pretty set on doing the work while in Colombia.

1. Include whether your drink or smoke, and if you have any medical conditions.
   1. Hardly drink, dont smoke. Sleep apnea.
2. Include a photograph if the question relates to something you can see in your mouth, include x-rays if you have them.
   1. Some very bad photos but it's the best I could do for now ( I have request the digital version of my xray but not sure I can get it.) : https://imgur.com/a/rfB1HhU EDIT: got the digital version: https://imgur.com/a/V4iDFNv

3 Dentists, conflicting advice:
I am currently in Bogota Colombia but was last in Mexico City. I got two opinions from dentist in Mexico and one in Bogota so far.
I got panoramic xrays for all dentists.

1. I was told by 1 mexican dentist I needed a lot of work, replace my crowns (most of which were from root canals done in the USA, one in Tijuana Mexico) + a few cavities filled. Probably about $2k USD worth of work. Said they needed about 2 weeks to do it all.
2. Another Mexican dentist told me I needed only 3 cavities filled that were quite minor
3. The dentist in Colombia (I was referred by a local friend here) told me I didn’t have cavities I had “holes” and I needed like 7 fixed + all or most my crowns redone (I believe 3 of 4) + a mouth guard since I seem to grind my teeth + some work on my front teeth. The total estimate was about $1.5k USD and 1 month worth's of work but they still need to review my xrays in the next few days to know for sure if that was all. He seemed to believe it was urgent and I should return to Bogota ASAP.

Context + Life Situation:
For context I had Invisalign for about the last year and a half, just got that off in February. Before Invislign my teeth seemed mostly fine, I had to get a few things done before we could begin (like get my wisdom teeth removed and check I didn’t have any root canals pending). I've had many root canals done prior to Invislign.
All Dentist have told me I have horrible teeth & some acid destroying my front teeth, perhaps from limes, or candy, etc. or acid reflux. This has been a common theme in the USA too so that’s consistent. I didn’t complete the full Invislign treatment (my dentist transferred over her practice midway through the work + I moved out of the USA so it was not ideal). I have considered veneers but I don’t care about the looks just health.
Originally I was planning to move around and go to EcuadoGalapagos. I have ~3 months in the region. I’m going to Cartagena this week for 4 days but after that I haven’t booked anything so have a lot of flexibility. I was planning to visit a few nearby towns/cities (namely Santa Marta) for a few days each.
I have already spent a lot of time in Mexico City and Bogota so was hoping to visit new places but I am going to prioritize my dental work since I’m traveling for the next year or two (heading to Europe/Asia). Mostly working and moving slowly but I'd rather not have dental work looming over my head.
Any ideas on how I can get closer to the “real answer”? I am thinking I am going to visit a 4th doctor here in Colombia since the price is like $30 USD for just a consult. But perhaps I should try to find a specialist? Is there anything I should do differently or ask them? What are the risks of not doing that work now? I am okay with paying $1.5k-2k USD now but I don’t want to pay for something I don’t actually need (replacing my crowns seems riskier, but if truly needed I will do it). I’m also okay with not moving since I like slow travel. I was going to see if there is a city I like here in Colombia and stay there for the month. Bogota is fine but perhaps a smaller city would be nice to get to know.. though I am assuming a bigger city would have better dentists.
I don't plan to be in the USA anytime soon (except for a few days in NYC in Sept before heading over to Europe).
Symptoms:
I do get random discomfort from the back of my teeth (near wisdom, top sides, perhaps from grinding my teeth) and also discomfort from random teeth after eating sometimes (I assume from cavities?).

Well i've already been typed as infp 6w7 but I've recently been pondering whether it's really something that fits me so I wanted to get other people's opinions on my typing.
• How old are you? What's your gender? Give us a general description of yourself.
— I'm 19 years old and identify as non-binary (he/they pronouns). I am extremely extra, I am eccentric, I love alternative styles, I love arts in all its forms, I am extremely sentimental, I can be considered strange to many, I talk too much, I seem extroverted around introverts and I seem introverted around other extroverts, I get tired easily in social situations, so I always prefer to talk more via cell phone or computer. I'm very extreme and I can end up feeling very angry, very happy or very sad out of nowhere, I usually try to be kind but I can be rude or insensitive if I'm very angry, I'm a person who really likes to fight for causes aimed at minorities since I'm from several minority groups, I hate injustice, I'm very stubborn and I don't like being contradicted while I always try to be someone who takes various arguments into account.
• Is there a medical diagnosis that may impact your mental stability somehow?
— I'm autistic, adhd, i have gad (generalized anxiety disorder) and i might also have depression.
• Describe your upbringing. Did it have any kind of religious or structured influence? How did you respond to it?
— I grew up in a Christian family, which hurt me a lot when I got older since my family's religion is against my existence as a queer person, and it took them a long time to admit that I needed psychological help and things like that. It's difficult to leave my roots but in the end I ended up stopping believing in my parents' religion after everything I went through.
• What do you do as a job or as a career (if you have one)? Do you like it? Why or why not?
— I'm studying animation design at college, it's one of my passions and I really enjoy learning about the topics, I just hate the structure of taking exams and tests.
• If you had to spend an entire weekend by yourself, how would you feel? Would you feel lonely or refreshed?
— I would feel crazy, insane. I need the company of some people close to me to regulate myself and talk about things I like, being alone makes me feel empty and strange. So yeah i would feel lonely.
• What kinds of activities do you prefer? Do you like, and are you good at sports? Do you enjoy any other outdoor or indoor activities?
— I'm terrible at sports and I hate them, my motor coordination is horrible. I prefer indoor activities because there is less chance of me overloading myself with something (example: feeling unwell because of the sun, heat, etc.)
• How curious are you? Do you have more ideas then you can execute? What are your curiosities about? What are your ideas about - is it environmental or conceptual, and can you please elaborate?
— I'm very curious, I love discovering new things, I have a lot of ideas at terrible times (in the middle of the night) and I really end up getting disorganized with the amount of things I think about. My ideas and curiosity are generally focused on creative processes like creating characters, universes, stories, but it can also simply be focused on a topic of interest to me (hyperfocuses / special interests). These are things that end up being more of a concept because I'm terrible at executing my ideas.
• Would you enjoy taking on a leadership position? Do you think you would be good at it? What would your leadership style be?
— I don't like being the leader of projects and things like that for the simple fact that I'm not good at handling responsibilities, so I prefer to just execute some order, my problem is that I also really like doing things MY way so it's a bit contradictory. However, in the moments when I have had to be a leader (I was forced to since my colleagues didn't want to do anything) I haven't been a bad leader, I research the project topics and let people choose their topics to present.
• Are you coordinated? Why do you feel as if you are or are not? Do you enjoy working with your hands in some form? Describe your activity?
— I'm not good at being organized or at things that involve motor coordination. For example, it took me decades to be able to tie my shoe laces, know which direction is right or left and I keep forgetting important dates. I don't like using my hands to do activities because they shake a lot and so I'm always horrible at things that involve using my hands. The only things I think I'm good at are playing games and drawing, and even then, drawing is an extreme challenge since I always put a lot of pressure on the pencil when I'm drawing or writing.
• Are you artistic? If yes, describe your art? If you are not particular artistic but can appreciate art please likewise describe what forums of art you enjoy. Please explain your answer.
— Yes, art is something that I have loved since I was young because of the fact that I can express my creativity, ideas and feelings. I've always been passionate about cartoons so my drawing style is very cartoony. I really like seeing fanart from media that I love, but I also love seeing old paintings, especially from Roman and Greek times. I not only like drawing and painting, but I also love art in general. I love cinema, theater, books, sculptures, etc. One day I want to know how to write very well and be able to make books or even draw well enough to be able to make a cartoon. I want to be able to share the comfort I experience by seeing art that makes me feel happy and represented by doing something that also makes people happy through my art.
• What's your opinion about the past, present, and future? How do you deal with them?
— I have some regrets from the past, but in general I was more "normal" and happy back then, I wouldn't change anything because I follow the idea that my mistakes and successes made me who I am today. As for my present, I try to make the most of it but I'm not going to lie that I'm not a big fan of my current state, I feel a bit useless and very behind compared to most people I know my age so I end up preferring to think more about the future and how things will get better later. At the same time that I really appreciate some current moments of my present, like being able to play with my girlfriend most days, this makes me very happy.
• How do you act when others request your help to do something (anything)? If you would decide to help them, why would you do so?
— I like helping people, sometimes I even try to help people who didn't ask for my help if they are people I really like (I may end up being seen as inconvenient because of this). I always want to be able to help everyone, but currently because of my mood I may end up not being very helpful as my mental health is not the best, even so, I always try to be very patient and friendly with people who are going through difficult times, even when sometimes I just want to be left alone and I'm not in the mood to help anyone, especially because I know what it's like to be in a bad place and i don't want people to feel rejected.
• Do you need logical consistency in your life?
— I'm very sentimental and I often don't think very logically BUT in arguments and other serious situations I need people to use logic and proven arguments just like i do in those situations so that the debate or serious situation isn't just a bunch of nonsense. I am a sentimental person, but to develop some thought, I need logical arguments
• How important is efficiency and productivity to you?
— In general, I think it's very important, but I personally can't be productive and efficient since I have a lot of executive dysfunction. I KNOW it's important but I can't be like that.
• Do you control others, even if indirectly? How and why do you do that?
— I like things to be my way but I don't really think I control people? I always impose my opinions a lot but I don't really control people.
• What are your hobbies? Why do you like them?
— I like games, reading books, role-playing, drawing and even trying to write books. I really like fantasy things. It seems more fun than my reality and I like to distract myself from real life things.
• What is your learning style? What kind of learning environments do you struggle with most? Why do you like/struggle with these learning styles? Do you prefer classes involving memorization, logic, creativity, or your physical senses?
— I like learning things when they involve what I like or at least are more interactive and I hate math, chemistry and physics btw. I have a lot of difficulty with classes in subjects that require a lot of memorization, I prefer things that are relative and interpretative like arts and literature and I really like classes that involve creativity. I also hate classes where the teacher just talks and talks and talks and doesn't do anything interactive and fun. I generally prefer to study at home for very short periods of time because I learn easier alone and study very briefly because I have difficulty studying for long periods of time.
• How good are you at strategizing? Do you easily break up projects into manageable tasks? Or do you have a tendency to wing projects and improvise as you go?
— I'm terrible at planning things, I usually do things at the last minute and I improvise a lot.
• What are your aspirations in life, professionally and personally?
— I think I get a lot of inspiration from artists I like, such as Rebecca Sugar, Tyler Joseph and others. They are very creative people who do things that I really like (I love Steven Universe, which Rebecca Sugar created, and I love Twenty One Pilots, which is the band where Tyler Joseph is the lead singer).
• What are your fears? What makes you uncomfortable? What do you hate? Why?
— My biggest fears are being alone, because it's scary not having anyone who understands you and who supports you and loves you, and being a burden to the people I love, because I don't want to be an extremely dependent and useless person and disappoint the people I love.
• What do the "highs" in your life look like?
— These are the days when I feel excited to do things and I can be productive doing everything I need in my routine as well as doing my hobbies and being able to relax.
• What do the "lows" in your life look like?
— These are the days when I feel sad, empty and discouraged, I can't do my routine tasks and I force myself to do them anyway in an extremely bad mood, my hobbies may even distract me on those days but it will be a strange feeling as if I'm not really excited to do what I like and I'm just distracting myself from my problems.
• How attached are you to reality? Do you daydream often, or do you pay attention to what's around you? If you do daydream, are you aware of your surroundings while you do so?
— Ah, I don't have much attachment to reality and I prefer fantasy things, I constantly get caught up in my own thoughts and I prefer to create happy fantasy situations so I don't deal with my real problems. I'm also pretty distracted in general so regardless of whether I'm fantasizing or not I end up missing a lot of details and dissociating
• Imagine you are alone in a blank, empty room. There is nothing for you to do and no one to talk to. What do you think about?
— I would probably try to distract myself by thinking about things I like or talking to myself, depending on if the day was bad I would eventually end up thinking a lot about my personal problems and becoming depressed.
• How long do you take to make an important decision? And do you change your mind once you've made it?
— I'm very slow and indecisive when it comes to choosing things, I always want to gather as much information about each option in my mind or by researching on the internet about it and then I always end up between multiple options and changing my mind several times until I arrive at a concrete result.
• How long do you take to process your emotions? How important are emotions in your life?
— Some of my emotions may be processed much later than they should have been processed or simply be different from what people usually have. For example, I'm not very good at dealing with grief and I end up not showing the sadness that my other relatives do, but generally I feel my emotions in a very extreme and volatile way. I feel happy for very silly things and when I'm happy I'm VERY HAPPY and I get sad very easily and when I get sad I get VERY SAD.
• Do you ever catch yourself agreeing with others just to appease them and keep the conversation going? How often? Why?
— Yes. I really like demonstrating my opinions and being authentic, it's a very important thing for me, but even so, I sometimes end up just remaining silent or agreeing with something that I don't really agree with because I'm too afraid of being hated and I generally want everyone to like me, even people I'm not very close to. However, I can also be a person with very strong opinions and be very stubborn about what I believe in if it is something linked to social issues or linked to things that I REALLY like.
• Do you break rules often? Do you think authority should be challenged, or that they know better? If you do break rules, why?
— I break rules that I believe don't make sense, if it's something that I think makes sense I'll follow that rule, but if it's stupid and I don't understand why I have to follow it I'll probably break the rule. I've also never been a person who understands authorities, for me anyone has the right to question something if it's not a useful or logical rule. I agree that rules are important but that they can be adapted, eliminated and added if necessary for people.

I noticed in looking over imagesof a 19th century work that the letter s, when it appears at the beginning or in the middle of a word, appears like a standard letter f, except that only the left half of the crossbar is present. When used at the end of the word, the letter appears as the letter s as we use it today. One word that caught my eye was wilderness, spelled as wildernefs in the text.
Is this a carryover from a Latin and Greek tradition of writing? Greek uses two forms of sigma, depending on where the letter is in a word, and I thought there might be a connection.
I don't know much about the history of fonts but did wonder about this.
Thanks.
The work actually is from the 1780s, so it would be 18th century.

greek and latin always get ignored, how did we all find that exam? I thought the 8 and 10 markers were GODSENDS but there were a few goofy questions

I came across this Quora answer for "Why does Kerala Government impose an economically worthless Malayalam in Kerala schools instead of making it as an optional language because a Malayali cannot get lucrative employment by learning Malayalam?" from this post.
The answer is a lengthy one, and may seem irrelevant to the title "How is time perceived in Telugu?", but please keep reading, I have my questions at the end of the post...

This question reminds me of a story of the Roman emperor Vespasian. One day, an inventor visited the emperor and showed him the blueprint of a mechanism that could transport columns and beams to a construction site quickly and without any manual labor. This brilliant machine could've kickstarted industrial revolution 1700 years before it actually happened. But much to the inventor's shock, Vespasian turned him down, saying “my people need jobs, our slaves need jobs. If the machine does all the work, our people will be jobless. Our slaves would get free time to organize themselves and would start revolts”.
Vespasian feared that the new technology was ‘economically worthless', as it would make people and slaves jobless and send the country into total chaos. In short, he was technologically shortsighted. The inability to foresee what technology could bring to his people in the long run pulled him down. He was deluded by the fragile nature of the economy and had no idea how to rebuild it if this revolutionary mechanism would be allowed to operate.
This was the reason why ancient Rome was never industrialized, despite having a lot of excellent inventors and engineers. Those in power were worried about the unemployment a sudden revolutionary idea would create and failed to accept how beneficial this would be for the people in the long run.
The reason for narrating this story is that it is remarkably similar to the dilemma mentioned in the question. Vespasian thought, “allocating resources to inventive technology instead of manual labor is economically worthless since people and slaves won't get lucrative jobs”.
Replace ‘manual labor' by ‘English' and ‘inventive technology' by ‘Malayalam', and you get our question.
“Allocating resources to English instead of Malayalam is economically worthless since people and slaves won't get lucrative jobs”.
Likewise, English persists as the language of official usage for most jobs not because Malayalam is incompetent or inefficient, but because the current ‘system' revolves around English. That makes Malayalam seem like a burden on students, with no economic worth. An engineer who does all his learning from foreign textbooks and uses English terminology has no lucrative use of Malayalam. A software developer who needs to know all computer-related terms in English has no use of Malayalam. The same goes for an accountant, a doctor, a clerk, and pretty much all ‘white collar' jobs you can think of. Even those who might benefit from learning Malayalam like historians or linguists might consider English infinitely more useful since most of the written books and research work on those fields are in English. There is enough reason for people to think that spending government resources for teaching Malayalam is worthless like how Vespasian thought that appreciating technology was worthless.
But time proved Vespasian wrong, although by sheer luck. Christianity replaced Paganism as the dominant religion in Europe. Since slavery is forbidden in Christianity, European kingdoms started banning it. Feudalism and class based labor also started declining as the plague wiped out significant fractions of each class and as the military shifted from armies to professional fighters, thereby weakening the nobility’s hold on power. With the lack of a powerful ruling class to impose and manage heavy manual labor, the stage was finally set for a technological revolution and the industrial revolution finally began in Europe, 1700 years after Vespasian.
Some of you might be doubtful of comparing the case of English vs Malayalam with manual labor vs automated machines. Are they even comparable in the first place?
Industrial revolution made life easier for people because it freed people from the heavy manual labor and made it possible for them to spend more time for their personal development. Likewise, teaching in Malayalam instead of English would make people engage more with their personal and cultural lives. Teaching lessons of science and history in English forbids Malayalis from using them in their lives. This is because these two languages are different at a fundamental level since they belong to two different language families. If you are a Malayalam speaker and you learn science and history in English, it'll be impossible for you to use them in your daily lives because you conceptualize the world around you in completely different ways while you speak or think in these two languages. In linguistics, this changing of cognitive metaphors while using different languages is known as code-switching.
Let me share my own experience. I studied in Malayalam medium in primary and high school. Hence my way of understanding science and history is through Malayalam's (or Dravidian) cognitive metaphors. Those who study in English or other related languages like German, Persian or Hindi would use the Indo-European cognitive metaphors. Once I started reading books in English, I started to realize how different these are.
Let us take time for example.
How an English speaker views time
Speakers of Indo-European languages like English and Hindi conceptualize time as a long line through which you move at a steady rate. Your past is the segment behind you and your future lies in front of you. Time is a one-dimensional straight line in Indo-European languages (the only exceptions are Italic and Hellenic branches. They see time as a growing volume instead of a long line).
This is why these languages describe the duration of events as either “long” or “short”, which represent the length of a line segment.
Consider the statement “I've been waiting for a long time”.
The italicised part, translated into different Indo-European languages would be:
English (Germanic) : “ long time”
Sanskrit (Indo-Aryan) : “dīrghakāla”
Hindi (Indo-Aryan) : “lambi der”
Persian (Iranian) : “moddat zamân tulâni”
Lithuanian (Baltic) : “ilgas laikas”
Irish (Celtic) : “tamall fada”
All those words indicated with bold letters are synonym for “long”. The same could be observed for events with less duration. All these languages use the adjective “short”, just as what you might expect from their way of perceiving time as a horizontal line.
Hence many words describing events associated with time like emotions in these languages are derived from roots that mean “long” or “short”. The English words “longing” (from ‘long') and “hope” (ultimately from Greek ‘kúptō' (to bend forward) ) are examples.
(By the way, there are two slightly different variants of the Indo-European concept of time. This video explains it beautifully with a riddle)
.
How a Malayalam speaker views time
Speakers of Dravidian languages like Malayalam have a much more sophisticated three-dimensional view of time. For Malayalis, the passage of time is vertically upwards, not to the front. Also, time isn't a single line here. Multiple vertical lines of progression of time arise from the two dimensional patches of land. In Malayalam, this two-dimensional ‘area' or patch of time is known as “pāḍu” (പാട്) which literally means “a bounded area” (hence the adjectives like “orupāḍu” and “appāḍe”). Related events that take place at a particular location are visualized as multiple vertical lines growing from that patch. A different place or a different person would be visualized as a different patch with its own vertical growths.
You have to be a Dravidian speaker to fully understand this. Imagine a set of events.
If it is the same event occurring over and over again, it is perceived as looping around a small vertical segment over and over again. In Malayalam language, this corresponds to the adjective ഒത്തിരി (ottiri) - literally “many turns/loops” (root ‘tiru' - turn/spin).
If that set of events represent a growing process or emotion, it is perceived as a line that grows vertically. In Malayalam, the adjective in this case is ഏറെ (ēṟe) - literally “climbing up/ascending” or വളരെ (vaḷare) -literally “growing upwards”.
If those events are concurrent yet different, they are perceived as multiple vertical growths originating from the same patch on the plane. In Malayalam, the adjective is ഒരുപാടു (orupāḍu) - literally “an area of” (‘pāḍu' - a bounded area).
If those events are completely independent, then they exist in different patches and the adjective പല (pala) is used.
In short, a Malayalam speaker has four different ways of translating something like “a long time”, depending on how the person spent that time. If they spent that time by counting sea waves, they might say “ottiri nēram”. If the time was spent, say, by building a sand castle, they might say “ēṟe nēram”, and if they were doing many different things, they might say “orupāḍu nēram”.
This is true in the case of other Dravidian languages as well. For example, in Kannada, the word ಪಿರಿ (piri) - heightened/advanced - (now mostly displaced by the loanword ಬಹಳ (bahaḷa)) would correspond to Malayalam “ēṟe” and ತುಂಬಾ (tumbā) - literally, a crowd of/amassed - would correspond to Malayalam “orupāḍu”. A Kannada speaker would say “bahaḷa samaya” for the time spent for building a sand castle and “tumbā samaya” for the time spent for doing multiple things
(However, in some Dravidian languages, this way of visualizing time has been replaced by the Indo-European linear time because of Sanskrit imperialism. But that is a different story.)
In short, as a Malayalam speaker, I conceptualize my entire life in front of me. My brain visualizes all the places I've been to and the people I've interacted with as different patches (pāḍu), each one having multiple vertical segments that grow or add a new one each time I visit again. However, when I speak or learn in English or Hindi, it is completely changed and I'm forced to visualize time and events to be part of a long line with my past behind me and my future in front of me. This switching of conceptual metaphors is known as code-switching in cognitive linguistics.
This means that I as a bilingual describe an event that happened the day before yesterday as “two days back” in English and “raṇḍụ nāḷ munpu” in Malayalam. Here, “munpu” means “frontside” and back means, backside. For an English speaker, the past lies as the line segment behind them (back), and for a Malayalam speaker, the past is a patch that is much further to the front than the one they are in at present. Notice how the concept of past flips completely with the change of language.
Think of English's concept of time as a long railway track with a train (representing the person) passing through it and Malayalam’s concept of time as a sugarcane field with multiple patches of land having a bunch of upwards growing stems.
The reason for describing all this is to highlight how different the perception of events are in these two languages. And remember that we have considered only time. Nearly all abstract concepts are visualized differently in unrelated languages. A Dravidian’s world is completely different from that of an Indo-European.
Now let us come back to the original question. What happens if a Malayalam speaker is given education only in English? The result is, they could never use the science and history they learn in their personal and cultural lives. Personal and cultural aspects would be pictured in one way and things that they learn at school would be visualized in the other way. This means that all those things would be useful only for earning money or doing research and they would be useless for their personal growth and the cultural development of the society.
In fact, this is exactly what is happening in Kerala now. All those highly educated people conceptualize the world in the Indo-European way thanks to being educated in English or sanskrit-imposed Malayalam while the common people view the world with the classic Dravidian metaphors. This stunts the growth in cultural, political, religious and scientific fileds in Kerala.
Not to mention that English's concept of time is much too simple and inefficient for describing things and when it comes to fields intricately connected to time like history or biological evolution, it often fails miserably. I recently wrote an an answer on how the public perception of evolution is incorrect and horribly misleading. In fact, the visualization of time as a simple long line is one of the reasons for this. This metaphor is much too simple to handle a complex probabilistic theory like evolution.
However, for someone who learned evolution in Malayalam, it would be a much more sophisticated process and it would be easier to visualize it without being misguided. Learning in Malayalam is much more efficient and productive in this case. I consider myself lucky for having had most of my schooling in Malayalam medium thanks to which I routinely apply the things I've learned in all aspects of my life.
So, to summarize,
Malayalam being economically worthless is a reality of the present, but it is not so because Malayalam is inefficient or unproductive in usage. As we saw here, educating in Malayalam is actually necessary for the learned things to be put into practice in life and society. It is just that the current system uses English and a total change would require nothing less than a revolution. Nevertheless, the cost of not educating kids in Malayalam is huge, as it leads to a stagnation in cultural, religious, political, and scientific aspects of Kerala.

--END OF THE ANSWER--
I wanted to share this answer here too and wanted to discuss about its points (specifically how different people view time).
How Telugu language and Telugus view time? Does it differ by dialects? Did Sanskrit influence this part of Telugu? What other things does Telugu perceive in a different manner compared to other languages?

This means that I as a bilingual describe an event that happened the day before yesterday as “two days back” in English and “raṇḍụ nāḷ munpu” in Malayalam. Here, “munpu” means “frontside” and back means, backside.

The only aspect I recognised which I use in Telugu like "rendu dinalu mundu" (Two days ago).

I've already learned quite a few languages, two modern (German & Chinese) and two ancient (Latin & Greek), so am very familiar with grammatical structures and would like a textbook that goes at a relatively fast pace & doesn't shy away from discussing grammar in-depth.
I really enjoyed the Reading Greek series, which alternated between grammar & passages to read with running vocabs. If anyone knows something similar for Hebrew (modern or biblical) or has any recommendations, I'd greatly appreciate it!

I’ve read articles and books and heard videos that all claim to have nailed the original pronunciation of YHWH - some leaving off the final he, some defining it as all vowels and all manner of derived soundings from transliteration into Greek and Latin, and that the masoretecs got it wrong … or did they?
So what is the scholarly view on this ?
Yeh hoo Yah way Yeh hoo ah Yeh ho vah — — — —
????

I am not even talking about scriptural problems within the bible, You don't have to open a single bible to start seeing the problems,
1-) The Problem of Salvation and Faith (Why the plan of salvation is ridiculous, and has failed)
I.The ridiculousness of the plan
A. Demanding blood for remission of sins Heb 9:22 - Why is this the terms that god insists upon? Isn't he the architect of the parameters regarding sin, punishment, and forgiveness? Is he not able to forgive sin without blood sacrifice? Can he not say, “No blood sacrifice necessary, I just forgive you?”
B. God sacrificing himself to himself to save us from himself by creating a loophole in the architecture for condemnation he engineered in the first place? This is your solution for a problem in which you yourself are the problem. It’s like a doctor stabbing people to be able to operate and save them.
C. Dying for someone else's crime does not equal justice in any court.
D. The sacrifice was not a sacrifice at all :

1. Jesus is said to be eternal
2. He spent a few days in misery out of his billions of years plus of existence
3. He spent a minutiae of a fraction of his existence suffering knowing he would be resurrected after the ordeal and spend eternity in divine luxury, and that somehow provides him justification to sentence us to trillions of years of eternity suffering without end?
4. Jesus is a supernatural immortal who suffered temporary mortal punishment and then sentences mortals to supernatural eternal punishment if they do not receive his sacrifice.
5. Why is three days of punishment followed by eternity in glory sufficient for all the horrible deeds any man has ever committed, but billions of years suffered in hell by a good moral person who does not believe due to lack of evidence is not sufficient?

2-) Nature of The Christian god
I. He is supposed to be an all Powerful and All mighty being and yet he died on a cross by his own creation (If you see someone claiming to be god and then you saw him hie before your very eyes, How on earth are you supposed to conclude anything else other than "This guy is a liar"?)
Modern Christians would respond to this saying "Only the Human part died, The Divine part wasn't affected"
Which again, doesn't make any sense :
A. Even when assuming a human sacrifice is somehow necessary for salvation, The sacrifice of 1 Human being can never be Enough to atone for the sins of all of mankind since Adam and Eve till the return of jesus.
I found a Coptic pope explaining this issue in detail, Here is a link to his book, https://st-takla.org/books/en/pope-shenouda-iii/nature-of-christ/propitiation-and-redemption.html
Quoting from it : "The belief in the One Nature of the Incarnate Logos is essential, necessary and fundamental for redemption. Redemption requires unlimited propitiation sufficient for the forgiveness of the unlimited sins of all the people through all ages. There was no solution other than the Incarnation of God the Logos to offer this through His Divine Power.
Thus, if we mention two natures and say that the human nature alone performed the act of redemption, it would have been entirely impossible to achieve unlimited propitiation for man's salvation. Hence comes the danger of speaking of two natures, each having its own specific tasks. In such case, the death of the human nature alone is insufficient."
It's very clear that saying only the human part died doesn't make any sense, Even according to the Christian theology itself.
B. The Trinity is based on a false idea
I know, It's a classic Argument against Christianity but you can't deny that it's an actual damning argument against the Christian theology.

1. God is all knowing but Jesus wasn't all knowing (mark 13:32)
2. Jesus is supposed to be god, but he is praying to himself to save himself with cries and tears?? (Luke 22:41-44)
3. Jesus is god but we can't say he is good because only god is good?? (Luke 18:18-19)
4. God can't be tempted by evil (James 1:13) but yet jesus was tempted by satan?? (Matthew 4:1)
5. Jesus is god but he can't do a thing on his own?? (John 5:31) 6.Jesus is supposed to be the same as the father, But their teachings are different? (John 7:16)

And so many more, Throught the bible i can't help but notice the intense number of verses which clearly states Jesus can't be god.
3-) The Problem of a Historical Jesus (Why we don’t know the actual historical Jesus)
I. No contemporary historical evidence,
A. No historian alive during Jesus day wrote about Jesus despite ample opportunity

1. The kings coming to his birth
2. Herod’s slaughter of baby boys
3. The overthrowing of money changers
4. Jesus triumphant entry into Jerusalem where he is declared king by the whole town.
5. Darkness covering the whole earth for hours on Jesus’ Death
6. The earthquakes at Jesus’ death
7. The rending of the temple veil at Jesus’ Death
8. The resurrection of Jesus that was seen by 500 witnesses.(Only Paul claims that, even tho he never met jesus)

II. The Gospels are contradicting, late hearsay accounts
A. Mark, the earliest gospel, was written at least after 70 A.D. (referencing fall of temple) by a non-eyewitness, and makes numerous cultural and geographical errors that a Jewish writer would not have made such as locations of rivers, cultural customs regarding divorce, locations of towns or Jesus quoting from the greek Septuagint etc. (see geographical and historical errors in this link, https://holtz.org/Library/Philosophy/Metaphysics/Theology/Christianity/Criticism/Bible%20Problems%20by%20Packham%201998.htm#ERRORS )
B. The other gospels all copied from Mark. Luke and Matthew contain over 70% of Mark and mainly make changes in attempts to fix blatant errors made in Mark and to correct Mark’s poor grammar.The writer of Luke even reveals to us in Luke 1:2 that he was not an eyewitness, but that the story has been passed down to him.
C. Four where chosen by the church father Iraeneus because he believed the earth was founded on four pillars and so too, should the gospels be founded by only four accounts.
Iraenus also revealed the names of the Gospels in the late second century, without any reason to assume they where the authentic authors - no one knows who actually wrote them!
D. John was initially considered heretical by the early church because of its variation from the synoptic but was overwhelmingly popular amongst Christians and so was included.
E. The book of Revelations was also considered heretical by many :
For centuries The Revelation was a rejected book. In the 4th century, St.John Chrysostom and other bishops argued against it. Christians in Syria also reject it. The Synod of Laodicea: c. 363, rejected The Revelation. In the late 380s, Gregory of Nazianus produced a canon omitting The Revelation. Bishop Amphilocus of Iconium, in his poem Iambics for Seleucus written some time after 394, rejects The Revelation. When St.Jerome translated the Bible into Latin, producing the Vulgate bible c. 400, he argued for the Veritas Hebraica, meaning the truth of the Jewish Bible over the Septuagint translation. At the insistence of the Pope, however, he added existing translations for what he considered doubtful books: among them The Revelation. The Church in the East never included the Revelation.
4-) The early church did not seem to know anything about a historical Jesus. Huge amounts of disagreement over Jesus in the first hundred years :

1. Some churches didn’t even believe he had a physical body, prompting Paul to write about that very issue.
   
2. There was an enormous debate between all the major early churches as to whether Jesus was divine or not, this was settled at the council of Nicea by the Roman Emperor Constantine.
   

5-) Which Bible?
A. Over 450 English versions of the bible All are translated using different methods and from entirely different manuscripts
B. Thousands of manuscripts disagreeing with each other wildly in what verses and even books they contain.
C. Different translations teach entirely different things in places, some often leaving out entire chapters and verses or containing footnotes warning of possible error due to uncertainty about the reliability of the numerous manuscripts.
Take a look at this example, 1- Revised standard version 2- Revised standard version Catholic edition 3- NEW revised standard version Updated edition 4- NEW revised standard version Catholic edition 5- NEW revised standard version, Anglicised 6- NEW revised standard version, Anglicised Catholic edition
How many attempts would it take to finally get it right ?!
6-) The Morality of the bible
I don't like using Morality as an argument because i believe it's a subjective thing, But I cannot help but notice how the morals of the OT and the NT are completely contradictory
In the OT god was Angry, Vengeful, Demands war, order genocides, Ordered the killing of children and even the ripping open of pregnant women.
But in the NT he somehow became loving, a father figure, saying if anyone hits you you shouldn't even respond back.

• In Conclusion: I don't think Christianity can be accepted as the truth by any logical person (Even most convert stories i heard were basically "I saw jesus in a dream" or "The holy spirit held my hand")

There is so many Theological confusion, A salvation idea that makes 0 sense, Lack of any form of historical critirea of knowing what is true manuscripts and what is hearsays (The authors of the gospels are all Anynomous),
There is even disagreement within Christianity itself about what stories go into the bible (Many stories have been found out to be false like John 8:1-11 and Mark 16:18)
https://textandcanon.org/does-the-woman-caught-in-adultery-belong-in-the-bible/
The lack of consistency on literally everything makes it one of the least convincing religion in my opinion.

What is the greek equivalent of the latin "nōnne"?

"Why Did Jesus Die on the Cross?"

The main reason Jesus died on the cross was to defeat Satan and set us free from his oppressive rule. Everything else that Jesus accomplished was to be understood as an aspect and consequence of this victory (e.g., Recapitulation, Moral Influence, etc.).
This understanding of why Jesus had to die is called the Christus Victor (Latin for “Christ is Victorious”) view of the atonement. But, what exactly was Christ victorious from, and why? To find out the answers to these questions, we have to turn to the Old Testament, as that's what the apostles would often allude to in order to properly teach their audience the message they were trying to convey (Rom. 15:4).
The OT is full of conflict between the Father (YHVH) and false gods, between YHVH and cosmic forces of chaos. The Psalms speak of this conflict between YHVH and water monsters of the deeps (an ancient image for chaos) (Psa. 29:3-4; 74:10-14; 77:16, 19; 89:9-10; 104:2-9, etc).
The liberation of Israel from Egypt wasn’t just a conflict between Pharaoh and Moses. It was really between YHVH and the false gods of Egypt.
Regardless of whether you think the aforementioned descriptions are literal or metaphorical, the reality that the Old Testament describes is that humanity lived in a “cosmic war zone.”
The Christus Victor motif is about Christ reigning victorious over wicked principalities and Satan's kingdom, and is strongly emphasized throughout the New Testament. Scripture declares that Jesus came to drive out "the prince of this world” (John 12:31), to “destroy the works of the devil” (1 John 3:8), to “destroy him that had the power of death, that is, the devil” (Heb. 2:14) and to “put all enemies under his feet” (1 Cor 15:25). Jesus came to overpower the “strong man” (Satan) who held the world in bondage and worked with his Church to plunder his "palace" (Luke 11:21-22). He came to end the reign of the cosmic “thief” who seized the world to “steal, and to kill, and to destroy” the life YHVH intended for us (John 10:10). Jesus came and died on the cross to disarm “the principalities and powers” and make a “shew of them openly [i.e., public spectacle]” by “triumphing over them in [the cross]” (Col. 2:15).
Beyond these explicit statements, there are many other passages that express the Christus Victor motif as well. For example, the first prophecy in the Bible foretells that a descendent of Eve (Jesus) would crush the head of the serpent (Gen. 3:15). The first Christian sermon ever preached proclaimed that Jesus in principle conquered all YHVH's enemies (Acts 2:32-36). And the single most frequently quoted Old Testament passage by New Testament authors is Psalm 110:1 which predicts that Christ would conquer all YHVH’s opponents. (Psalm 110 is quoted or alluded to in Matthew 22:41-45; 26:64, Mark 12:35-37; 14:62, Luke 20:41-44; 22:69, Acts 5:31; 7:55-56, Romans 8:34, 1st Corinthians 15:22-25, Ephesians 1:20, Hebrews 1:3; 1:13; 5:6, 10; 6:20; 7:11, 15, 17, 21; 8:1; 10:12-13, 1st Peter 3:22, and Revelation 3:21.) According to New Testament scholar Oscar Cullman, the frequency with which New Testament authors cite this Psalm is the greatest proof that Christ’s “victory over the angel powers stands at the very center of early Christian thought.”
Because of man's rebellion, the Messiah's coming involved a rescue mission that included a strategy for vanquishing the powers of darkness.
Since YHVH is a God of love who gives genuine “say-so” to both angels and humans, YHVH rarely accomplishes His providential plans through coercion. YHVH relies on His infinite wisdom to achieve His goals. Nowhere is YHVH's wisdom put more on display than in the manner in which He outsmarted Satan and the powers of evil, using their own evil to bring about their defeat.
Most readers probably know the famous story from ancient Greece about the Trojan Horse. To recap the story, Troy and Greece had been locked in a ten-year-long vicious war when, according to Homer and Virgil, the Greeks came up with a brilliant idea. They built an enormous wooden horse, hid soldiers inside and offered it to the Trojans as a gift, claiming they were conceding defeat and going home. The delighted Trojans accepted the gift and proceeded to celebrate by drinking themselves into a drunken stupor. When night came and the Trojan warriors were too wasted to fight, the Greeks exited the horse, unlocked the city gates to quietly let all their compatriots in, and easily conquered the city, thus winning the war.
Historians debate whether any of this actually happened. But either way, as military strategies go, it’s brilliant.
Now, there are five clues in the New Testament that suggest YHVH was using something like this Trojan Horse strategy against the powers when he sent Jesus into the world:
1) The Bible tells us that YHVH's victory over the powers of darkness was achieved by the employment of YHVH’s wisdom, and was centered on that wisdom having become reality in Jesus Christ (Rom. 16:25, 1 Cor. 2:7, Eph. 3:9-10, Col. 1:26). It also tells us that, for some reason, this Christ-centered wisdom was kept “secret and hidden” throughout the ages. It’s clear from this that YHVH's strategy was to outsmart and surprise the powers by sending Jesus.
2) While humans don’t generally know Jesus’ true identity during his ministry, demons do. They recognize Jesus as the Son of God, the Messiah, but, interestingly enough, they have no idea what he’s doing (Mark 1:24; 3:11; 5:7, Luke 8:21). Again, the wisdom of YHVH in sending Jesus was hidden from them.
3) We’re told that, while humans certainly share in the responsibility for the crucifixion, Satan and the powers were working behind the scenes to bring it about (John 13:27 cf. 1 Cor. 2:6-8). These forces of evil helped orchestrate the crucifixion.
4) We’re taught that if the “princes of this world [age]” had understood the secret wisdom of YHVH, “they would not have crucified the Lord of glory” (1 Cor 2:8 cf. vss 6-7). Apparently, Satan and the powers regretted orchestrating Christ’s crucifixion once they learned of the wisdom of YHVH that was behind it.
5) Finally, we can begin to understand why the powers came to regret crucifying “the Lord of glory” when we read that it was by means of the crucifixion that the “handwriting of ordinances that was against us, which was contrary to us [i.e., the charge of our legal indebtedness]” was “[taken] out of the way [i.e., canceled]” as the powers were disarmed. In this way Christ “triumph[ed] over” the powers by "his cross” and even “made a shew of them openly” (Col. 2:14-15). Through Christ’s death and resurrection YHVH's enemies were vanquished and placed under his Messiah's feet, and ultimately His own in the end (1 Cor. 15:23-28).
Putting these five clues together, we can discern YHVH's Trojan Horse strategy in sending Jesus.
The powers couldn’t discern why Jesus came because YHVH's wisdom was hidden from them. YHVH's wisdom was motivated by unfathomable love, and since Satan and the other powers were evil, they lacked the capacity to understand it. Their evil hearts prevented them from suspecting what YHVH was up to.
What the powers did understand was that Jesus was mortal. This meant he was killable. Lacking the capacity to understand that this was the means by which YHVH would ultimately bring about the defeat of death (and thus, pave the road for the resurrection itself), they never suspected that making Jesus vulnerable to their evil might actually be part of YHVH's infinitely wise plan.
And so they took the bait (or "ransom"; Matt. 20:28, Mark 10:45, 1 Tim. 2:5-6). Utilizing Judas and other willing human agents, the powers played right into YHVH’s secret plan and orchestrated the crucifixion of the Messiah (Acts 2:22-23; 4:28). YHVH thus brilliantly used the self-inflicted incapacity of evil to understand love against itself. And, like light dispelling darkness, the unfathomably beautiful act of YHVH's love in sending the willing Messiah as a "ransom" to these blood-thirsty powers defeated them. The whole creation was in principle freed and reconciled to YHVH, while everything written against us humans was nailed to the cross, thus robbing the powers of the only legal claim they had on us. They were “spoiled [i.e., disempowered]” (Col. 2:14-15).
As happened to the Trojans in accepting the gift from the Greeks, in seizing on Christ’s vulnerability and orchestrating his crucifixion, the powers unwittingly cooperated with YHVH to unleash the one power in the world that dispels all evil and sets captives free. It’s the power of self-sacrificial love.

Why Penal Substitution Is Unbiblical

For the sake of keeping this already lengthy post as short as possible I'm not going to spend too much time on why exactly PSA (Penal Substitutionary Atonement) is inconsistent with Scripture, but I'll go ahead and point out the main reasons why I believe this is so, and let the reader look further into this subject by themselves, being that there are many resources out there which have devoted much more time than I ever could here in supporting this premise.

"Purge out therefore the old leaven, that ye may be a new lump, as ye are unleavened. For even Christ our passover is sacrificed for us:"-1 Corinthians 5:7

The Passover is one of the two most prominent images in the New Testament given as a comparison to Christ's atonement and what it accomplished, (the other most common image being the Day of Atonement sacrifice).
In the Passover, the blood of the lamb on the door posts of the Hebrews in the book of Exodus was meant to mark out those who were YHVH's, not be a symbol of PSA, as the lamb itself was not being punished by God in place of the Hebrews, but rather the kingdom of Egypt (and thus, allegorically speaking, the kingdom of darkness which opposed YHVH) was what was being judged and punished, because those who were not "covered" by the blood of the lamb could be easily identified as not part of God's kingdom/covenant and liberated people.
Looking at the Day of Atonement sacrifice (which, again, Christ's death is repeatedly compared to throughout the New Testament), this ritual required a ram, a bull, and two goats (Lev. 16:3-5). The ram was for a burnt offering intended to please God (Lev. 16:3-4). The bull served as a sin offering for Aaron, the high priest, and his family. In this case, the sin offering restored the priest to ritual purity, allowing him to occupy sacred space and be near YHVH’s presence. Two goats taken from "the congregation” were needed for the single sin offering for the people (Lev. 16:5). So why two goats?
The high priest would cast lots over the two goats, with one chosen as a sacrifice “for the Lord” (Lev. 16:8). The blood of that goat would purify the people. The second goat was not sacrificed or designated “for the Lord.” On the contrary, this goat—the one that symbolically carried the sins away from the camp of Israel into the wilderness—was “for Azazel” (Lev. 16:8-10).
What—or who—is Azazel?
The Hebrew term azazel (עזאזל) occurs four times in Leviticus 16 but nowhere else in most people's canon of the Bible, (and I say "most people's canon," because some people do include 1 Enoch in their canon of Scripture, which of course goes into great detail about this "Azazel" figure). Many translations prefer to translate the term as a phrase, “the goat that goes away,” which is the same idea conveyed in the King James Version’s “scapegoat.” Other translations treat the word as a name: Azazel. The “scapegoat” option is possible, but since the phrase “for Azazel” parallels the phrase “for YHVH” (“for the Lord”), the wording suggests that two divine figures are being contrasted by the two goats.
A strong case can be made for translating the term as the name Azazel. Ancient Jewish texts show that Azazel was understood as a demonic figure associated with the wilderness. The Mishnah (ca. AD 200; Yoma 6:6) records that the goat for Azazel was led to a cliff and pushed over, ensuring it would not return with its death. This association of the wilderness with evil is also evident in the New Testament, as this was where Jesus met the devil (Matt. 4:1). Also, in Leviticus 17:1-7 we learn that some Israelites had been accustomed to sacrificing offerings to "devils" (alternatively translated as “goat demons”). The Day of Atonement replaced this illegitimate practice.
The second goat was not sent into the wilderness as a sacrifice to a foreign god or demon. The act of sending the live goat out into the wilderness, which was unholy ground, was to send the sins of the people where they belonged—to the demonic domain. With one goat sacrificed to bring purification and access to YHVH and one goat sent to carry the people’s sins to the demonic domain, this annual ritual reinforced the identity of the true God and His mercy and holiness.
When Jesus died on the cross for all of humanity’s sins, he was crucified outside the city, paralleling the sins of the people being cast to the wilderness via the goat to Azazel. Jesus died once for all sinners, negating the need for this ritual.
As previously stated, the goat which had all the sin put on it was sent alive off to the wilderness, while the blood of the goat which was blameless was used to purify the temple and the people. Penal substitution would necessitate the killing of the goat which had the sin put on it.
Mind you, this is the only sacrificial ritual of any kind in the Torah in which sins are placed on an animal. The only time it happens is this, and that animal is not sacrificed. Most PSA proponents unwittingly point to this ritual as evidence of their view, despite it actually serving as evidence to the contrary, because most people don't read their Old Testament and don't familiarize themselves with the "boring parts" like Leviticus (when it's actually rather important to do so, since that book explains how exactly animal offerings were to be carried out and why they were done in the first place).
In the New Testament, Christ's blood was not only meant to mark out those who were his, but also expel the presence of sin and ritual uncleanness so as to make the presence of YHVH manifest in the believer's life. Notice how God's wrath isn't poured out on Christ in our stead on this view, but rather His wrath was poured out on those who weren't covered, and the presence of sin and evil were merely removed by that which is pure and blameless (Christ's blood) for the believer.
All this is the difference between expiation and propitiation.

The Content of Paul's Gospel Message

When the New Testament writers talked about “the gospel,” they referred not to the Protestant doctrine of justification sola fide–the proposition that if we will stop trying to win God’s favor and only just believe that God has exchanged our sin for Christ’s perfect righteousness, then in God’s eyes we will have the perfect righteousness required both for salvation and for assuaging our guilty consciences–but rather they referred to the simple but explosive proposition Kyrios Christos, “Christ is Lord.” That is to say, the gospel was, properly speaking, the royal announcement that Jesus of Nazareth was the God of Israel’s promised Messiah, the King of kings and Lord of lords.
The New Testament writers were not writing in a cultural or linguistic vacuum and their language of euangelion (good news) and euangelizomai would have been understood by their audience in fairly specific ways. Namely, in the Greco-Roman world for which the New Testament authors wrote, euangelion/euangelizomai language typically had to do with either A) the announcement of the accession of a ruler, or B) the announcement of a victory in battle, and would probably have been understood along those lines.
Let’s take the announcements of a new ruler first. The classic example of such a language is the Priene Calendar Inscription, dating to circa 9 BC, which celebrates the rule (and birthday) of Caesar Augustus as follows:
"It was seeming to the Greeks in Asia, in the opinion of the high priest Apollonius of Menophilus Azanitus: Since Providence, which has ordered all things of our life and is very much interested in our life, has ordered things in sending Augustus, whom she filled with virtue for the benefit of men, sending him as a savior [soter] both for us and for those after us, him who would end war and order all things, and since Caesar by his appearance [epiphanein] surpassed the hopes of all those who received the good tidings [euangelia], not only those who were benefactors before him, but even the hope among those who will be left afterward, and the birthday of the god [he genethlios tou theou] was for the world the beginning of the good tidings [euangelion] through him; and Asia resolved it in Smyrna."
The association of the term euangelion with the announcement of Augustus’ rule is clear enough and is typical of how this language is used elsewhere. To give another example, Josephus records that at the news of the accession of the new emperor Vespasian (69 AD) “every city kept festival for the good news (euangelia) and offered sacrifices on his behalf.” (The Jewish War, IV.618). Finally, a papyrus dating to ca. 498 AD begins:
"Since I have become aware of the good news (euangeliou) about the proclamation as Caesar (of Gaius Julius Verus Maximus Augustus)…"
This usage occurs also in the Septuagint, the Greek translations of the Jewish Scriptures. For instance LXX Isaiah 52:7 reads, “How beautiful upon the mountains are the feet of him who brings good news (euangelizomenou), who publishes peace, who brings good news (euangelizomenos) of salvation, who says to Zion, ‘Your God reigns.'" Similarly, LXX Isaiah 40:9-10 reads:

"…Go up on a high mountain, you who bring good tidings (ho euangelizomenos) to Sion; lift up your voice with strength, you who bring good tidings (ho euangelizomenos); lift it up, do not fear; say to the cities of Ioudas, “See your God!” Behold, the Lord comes with strength, and his arm with authority (kyrieias)…."-NETS, Esaias 40:9-10

This consistent close connection between euangelion/euangelizomai language and announcements of rule strongly suggests that many of the initial hearers/readers of the early Christians’ evangelical language would likely have understood that language as the announcement of a new ruler (see, e.g., Acts 17:7), and, unless there is strong NT evidence to the contrary, we should presume that the NT writers probably intended their language to be so understood.
However, the other main way in which euangelion/euangelizomai language was used in the Greco-Roman world was with reference to battle reports, announcements of victory in war. A classic example of this sort of usage can be found in LXX 2 Samuel 18:19ff, where David receives word that his traitorous son, Absalom, has been defeated in battle. Euangelion/euangelizomai is used throughout the passage for the communications from the front.
As already shown throughout this post, the NT speaks of Jesus’s death and resurrection as a great victory over the powers that existed at that time and, most importantly, over death itself. Jesus’ conquest of the principalities and powers was the establishment of his rule and comprehensive authority over heaven and earth, that is, of his Lordship over all things (again, at that time).
This was the content of Paul's gospel message...

Justification, and the "New" Perspective on Paul

The following quotation is from The Gospel Coalition, and I believe it to be a decently accurate summary of the NPP (New Perspective on Paul), despite it being from a source which is in opposition to it:

The New Perspective on Paul, a major scholarly shift that began in the 1980s, argues that the Jewish context of the New Testament has been wrongly understood and that this misunderstand[ing] has led to errors in the traditional-Protestant understanding of justification. According to the New Perspective, the Jewish systems of salvation were not based on works-righteousness but rather on covenantal nomism, the belief that one enters the people of God by grace and stays in through obedience to the covenant. This means that Paul could not have been referring to works-righteousness by his phrase “works of the law”; instead, he was referring to Jewish boundary markers that made clear who was or was not within the people of God. For the New Perspective, this is the issue that Paul opposes in the NT. Thus, justification takes on two aspects for the New Perspective rather than one; initial justification is by faith (grace) and recognizes covenant status (ecclesiology), while final justification is partially by works, albeit works produced by the Spirit.

I believe what's called the "new perspective" is actually rather old, and that the Reformers' view of Paul is what is truly new, being that the Lutheran understanding of Paul is simply not Biblical.
The Reformation perspective understands Paul to be arguing against a legalistic Jewish culture that seeks to earn their salvation through works. However, supporters of the NPP argue that Paul has been misread. We contend he was actually combating Jews who were boasting because they were God's people, the "elect" or the "chosen ones." Their "works," so to speak, were done to show they were God's covenant people and not to earn their salvation.
The key questions involve Paul’s view(s) of the law and the meaning of the controversy in which Paul was engaged. Paul strongly argued that we are “justified by the faith of Christ, and not by the works of the law” (Gal. 2:16b). Since the time of Martin Luther, this has been understood as an indictment of legalistic efforts to merit favor before God. Judaism was cast in the role of the medieval "church," and so Paul’s protests became very Lutheran, with traditional-Protestant theology reinforced in all its particulars (along with its limitations) as a result. In hermeneutical terms, then, the historical context of Paul’s debate will answer the questions we have about what exactly the apostle meant by the phrase "works of the law," along with other phrases often used as support by the Reformers for their doctrine of Sola Fide (justification by faith alone), like when Paul mentions "the righteousness of God."
Obviously an in-depth analysis of the Pauline corpus and its place in the context of first-century Judaism would take us far beyond the scope of this brief post. We can, however, quickly survey the topography of Paul’s thought in context, particularly as it has emerged through the efforts of recent scholarship, and note some salient points which may be used as the basis of a refurbished soteriology.
[Note: The more popular scholars associated with the NPP are E.P. Sanders, James Dunn, and N.T. Wright. Dunn was the first to coin the term "The New Perspective" in a 1983 Manson Memorial Lecture, The New Perspective on Paul and the Law.]
Varying authors since the early 1900's have brought up the charge that Paul was misread by those in the tradition of Martin Luther and other Protestant Reformers. Yet, it wasn't until E.P. Sanders' 1977 book, Paul and Palestinian Judaism, that scholars began to pay much attention to the issue. In his book, Sanders argues that the Judaism of Paul's day has been wrongly criticized as a religion of "works-salvation" by those in the Protestant tradition.
A fundamental premise in the NPP is that Judaism was actually a religion of grace. Sander's puts it clearly:
"On the point at which many have found the decisive contrast between Paul and Judaism - grace and works - Paul is in agreement with Palestinian Judaism... Salvation is by grace but judgment is according to works'...God saves by grace, but... within the framework established by grace he rewards good deeds and punishes transgression." (Paul and Palestinian Judaism, p. 543)
N.T. Wright adds that, "we have misjudged early Judaism, especially Pharisaism, if we have thought of it as an early version of Pelagianism," (Wright, What Saint Paul Really Said, p. 32).
Sanders has coined a now well-known phrase to describe the character of first-century Palestinian Judaism: “covenantal nomism.” The meaning of “covenantal nomism” is that human obedience is not construed as the means of entering into God’s covenant. That cannot be earned; inclusion within the covenant body is by the grace of God. Rather, obedience is the means of maintaining one’s status within the covenant. And with its emphasis on divine grace and forgiveness, Judaism was never a religion of legalism.
If covenantal nomism was operating as the primary category under which Jews understood the Law, then when Jews spoke of obeying commandments, or when they required strict obedience of themselves and fellow Jews, it was because they were "keeping the covenant," rather than out of legalism.
More recently, N.T. Wright has made a significant contribution in his little book, What Saint Paul Really Said. Wright’s focus is the gospel and the doctrine of justification. With incisive clarity he demonstrates that the core of Paul’s gospel was not justification by faith, but the death and resurrection of Christ and his exaltation as Lord. The proclamation of the gospel was the proclamation of Jesus as Lord, the Messiah who fulfilled Israel’s expectations. Romans 1:3-4, not 1:16-17, is the gospel, contrary to traditional thinking. Justification is not the center of Paul’s thought, but an outworking of it:
"[T]he doctrine of justification by faith is not what Paul means by ‘the gospel’. It is implied by the gospel; when the gospel is proclaimed, people come to faith and so are regarded by God as members of his people. But ‘the gospel’ is not an account of how people get saved. It is, as we saw in an earlier chapter, the proclamation of the lordship of Jesus Christ….Let us be quite clear. ‘The gospel’ is the announcement of Jesus’ lordship, which works with power to bring people into the family of Abraham, now redefined around Jesus Christ and characterized solely by faith in him. ‘Justification’ is the doctrine which insists that all those who have this faith belong as full members of this family, on this basis and no other." (pp. 132, 133)
Wright brings us to this point by showing what “justification” would have meant in Paul’s Jewish context, bound up as it was in law-court terminology, eschatology, and God’s faithfulness to God’s covenant.
Specifically, Wright explodes the myth that the pre-Christian Saul was a pious, proto-Pelagian moralist seeking to earn his individual passage into heaven. Wright capitalizes on Paul’s autobiographical confessions to paint rather a picture of a zealous Jewish nationalist whose driving concern was to cleanse Israel of Gentiles as well as Jews who had lax attitudes toward the Torah. Running the risk of anachronism, Wright points to a contemporary version of the pre-Christian Saul: Yigal Amir, the zealous Torah-loyal Jew who assassinated Prime Minister Yitzhak Rabin for exchanging Israel’s land for peace. Wright writes:
"Jews like Saul of Tarsus were not interested in an abstract, ahistorical system of salvation... They were interested in the salvation which, they believed, the one true God had promised to his people Israel." (pp. 32, 33)
Wright maintains that as a Christian, Paul continued to challenge paganism by taking the moral high ground of the creational monotheist. The doctrine of justification was not what Paul preached to the Gentiles as the main thrust of his gospel message; it was rather “the thing his converts most needed to know in order to be assured that they really were part of God’s people” after they had responded to the gospel message.
Even while taking the gospel to the Gentiles, however, Paul continued to criticize Judaism “from within” even as he had as a zealous Pharisee. But whereas his mission before was to root out those with lax attitudes toward the Torah, now his mission was to demonstrate that God’s covenant faithfulness (righteousness) has already been revealed in Jesus Christ.
At this point Wright carefully documents Paul’s use of the controversial phrase “God’s righteousness” and draws out the implications of his meaning against the background of a Jewish concept of justification. The righteousness of God and the righteousness of the party who is “justified” cannot be confused because the term bears different connotations for the judge than for the plaintiff or defendant. The judge is “righteous” if his or her judgment is fair and impartial; the plaintiff or defendant is “righteous” if the judge rules in his or her favor. Hence:
"If we use the language of the law court, it makes no sense whatsoever to say that the judge imputes, imparts, bequeaths, conveys or otherwise transfers his righteousness to either the plaintiff or the defendant. Righteousness is not an object, a substance or a gas which can be passed across the courtroom. For the judge to be righteous does not mean that the court has found in his favor. For the plaintiff or defendant to be righteous does not mean that he or she has tried the case properly or impartially. To imagine the defendant somehow receiving the judge’s righteousness is simply a category mistake. That is not how the language works." (p. 98)
However, Wright makes the important observation that even with the forensic metaphor, Paul’s theology is not so much about the courtroom as it is about God’s love.
Righteousness is not an impersonal, abstract standard, a measuring-stick or a balancing scale. That was, and still is, a Greek view. Righteousness, Biblically speaking, grows out of covenant relationship. We forgive because we have been forgiven (Matt. 18:21-35); “we love" because God “first loved us” (1 John 4:19). Love is the fulfillment of the law (Rom. 13:8, 10, Gal 5:14, Jam. 2:8). Paul even looked forward to a day when “we must all appear before the judgment seat of Christ; that every one may receive the things done in his body, according to that he hath done, whether it be good or bad” (2 Cor. 5:10), and he acknowledged that his clear conscience did not necessarily ensure this verdict (1 Cor. 4:4), but he was confident nevertheless. Paul did in fact testify of his clear conscience: “For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation [i.e., behavior] in the world, and more abundantly to you-ward” (2 Cor. 1:12). He was aware that he had not yet “attained” (Phil. 3:12-14), that he still struggled with the flesh, yet he was confident of the value of his performance (1 Cor. 9:27). These are hardly the convictions of someone who intends to rest entirely on the merits of an alien righteousness imputed to his or her account.
Wright went on to flesh out the doctrine of justification in Galatians, Philippians, and Romans. The “works of the law” are not proto-Pelagian efforts to earn salvation, but rather “sabbath [keeping], food-laws, circumcision” (p. 132). Considering the controversy in Galatia, Wright writes:
"Despite a long tradition to the contrary, the problem Paul addresses in Galatians is not the question of how precisely someone becomes a Christian, or attains to a relationship with God….The problem he addresses is: should his ex-pagan converts be circumcised or not? Now this question is by no means obviously to do with the questions faced by Augustine and Pelagius, or by Luther and Erasmus. On anyone’s reading, but especially within its first-century context, it has to do quite obviously with the question of how you define the people of God: are they to be defined by the badges of Jewish race, or in some other way? Circumcision is not a ‘moral’ issue; it does not have to do with moral effort, or earning salvation by good deeds. Nor can we simply treat it as a religious ritual, then designate all religious ritual as crypto-Pelagian good works, and so smuggle Pelagius into Galatia as the arch-opponent after all. First-century thought, both Jewish and Christian, simply doesn’t work like that…. [T]he polemic against the Torah in Galatians simply will not work if we ‘translate’ it into polemic either against straightforward self-help moralism or against the more subtle snare of ‘legalism’, as some have suggested. The passages about the law only work — and by ‘work’ I mean they will only make full sense in their contexts, which is what counts in the last analysis — when we take them as references to the Jewish law, the Torah, seen as the national charter of the Jewish race." (pp. 120-122)
The debate about justification, then, “wasn’t so much about soteriology as about ecclesiology; not so much about salvation as about the church.” (p. 119)
To summarize the theology of Paul in his epistles, the apostle mainly spent time arguing to those whom he were sending letters that salvation in Christ was available to all men without distinction. Jews and Gentiles alike may accept the free gift; it was not limited to any one group. Paul was vehement about this, especially in his letter to the Romans. As such, I will finish this post off by summarizing the letter itself, so as to provide Biblical support for the premises of the NPP and for what the scholars I referenced have thus far argued.
After his introduction in the epistle to an already believing and mostly Gentile audience (who would've already been familiar with the gospel proclaimed in verses 3-4), Paul makes a thematic statement in 1:16: “For I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to every one that believeth; to the Jew first, and also to the Greek.” This statement is just one of many key statements littered throughout the book of Romans that give us proper understanding of the point Paul wished to make to the interlocutors of his day, namely, salvation is available to all, whether Jew or Gentile.
In 1:16 Paul sets out a basic theme of his message in the letter to the Romans. All who believed, whether they be Jew or Gentile, were saved by the power of the gospel. The universal nature of salvation was explicitly stated. The gospel saved all without distinction, whether Jew or Greek; salvation was through the gospel of Jesus Christ. Immediately after this thematic declaration, Paul undertakes to show the universal nature of sin and guilt. In 1:18-32 Paul shows how the Gentile is guilty before God. Despite evidence of God and his attributes, which is readily available to all, they have failed to honor YHVH as God and have exchanged His glory for idolatrous worship and self-promotion. As a consequence, God handed them over in judgment (1:18-32). Paul moves to denunciation of those who would judge others while themselves being guilty of the very same offenses (2:1-5) and argues that all will be judged according to their deeds (2:6). This judgment applies to all, namely, Jew and Greek (2:9-10). This section serves as somewhat of a transition in Paul’s argument. He has highlighted the guilt of the Gentiles (1:18ff) and will shortly outline the guilt of the Jew (2:17-24). The universal statement of 2:1-11 sets the stage for Paul’s rebuke of Jewish presumption. It was not possession of the Law which delivered; it was faithful obedience. It is better to have no Law and yet to obey the essence of the Law (2:12-16) than to have the Law and not obey (2:17-3:4). Paul then defends the justice of God’s judgment (3:5-8), which leads to the conclusion that all (Jew and Gentile) are guilty before God (3:9).
Paul argues that it was a mistaken notion to think that salvation was the prerogative of the Jew only. This presumption is wrong for two reasons. First, it leads to the mistaken assumption that only Jews were eligible for this vindication (Paul deals with this misunderstanding in chapter 4 where he demonstrates that Abraham was justified by faith independently of the Law and is therefore the father of all who believe, Jew and Gentile alike). Second, it leads to the equally mistaken conclusion that all who were Jews are guaranteed of vindication. Paul demonstrates how this perspective, which would call God’s integrity into question since Paul was assuming many Jews would not experience this vindication, was misguided. He did this by demonstrating that it was never the case that all physical descendants of Israel (Jacob) were likewise recipients of the promise. In the past (9:6-33) as in the present (at that time; 11:1-10), only a remnant was preserved and only a remnant would experience vindication. Paul also argued that the unbelief of national Israel (the non-remnant) had the purpose of extending the compass of salvation. The unbelief of one group made the universal scope of the gospel possible. This universalism was itself intended to bring about the vindication of the unbelieving group (11:11-16). As a result of faith, all (Jew and Gentile) could be branches of the olive tree (11:17-24). Since faith in Christ was necessary to remain grafted into the tree, no one could boast of his position. All, Jew and Gentile alike, were dependent upon the mercy and grace of God. As a result of God’s mysterious plan, He would bring about the vindication of His people (11:25-27). [Note: It is this author's belief that this vindication occurred around 66-70 AD, with the Parousia of Christ's Church; this author is Full-Preterist in their Eschatology.]

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Game Information

Game Title: Senua's Saga: Hellblade II
Platforms:

• Xbox Series X/S (May 21, 2024)
• PC (May 21, 2024)

Trailers:

• Senua’s Saga: Hellblade II – Official Trailer The Game Awards 2023
• Senua's Saga: Hellblade II - The Senua Trailer Xbox Games Showcase 2023

Developer: Ninja Theory
Publisher: Xbox Game Studios
Review Aggregator:
OpenCritic - 84 average - 86% recommended - 55 reviews
MetaCritic - 81 average - 34 reviews

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

Few games in recent times have been able to do what Senua's Saga: Hellblade 2 has done: make me feel so engaged and immersed that I wish the feeling would never stop. It is a game that will keep you in constant awe throughout the playtime with its fantastic and mysterious story, incredible graphic and sound presentation and realistic and brutal combat that will keep you on the edge of your seat the entire time.

But Why Tho? - Mick Abrahamson - 7.5 / 10

Senua’s Saga: Hellblade II won’t be for everyone. But if you are looking for a brutal continuation of a fantastic story that feels like you’re actually playing a movie, you’ll have a great time here.

CGMagazine - Justin Wood - 7 / 10

Senua's Saga: Hellblade 2 starts incredibly strong in the first half, but after certain revelations, the story speeds up to a point where the conclusion feels rushed and half-baked.

COGconnected - Mark Steighner - 95 / 100

It has been a very long time since I played a game as assured, polished, and emotionally affecting as Senua’s Saga: Hellblade 2.

Cerealkillerz - Steve Brieller - German - 7.9 / 10

If you expect an immersive but not so interactive “game”, Senua’s Saga Hellblade II delivers a short yet intense experience. Ninja Theory has once again skillfully created an impressive atmosphere, as they did in Senua’s Sacrifice. Unfortunately, the issues remain as well: Puzzles and combat are too easy and there is no variety in either. So please keep in mind, that this is more a Hellblade 1.5 than a true sequel.

Checkpoint Gaming - Charlie Kelly - 10 / 10

Senua's Saga: Hellblade II is well worth the wait and is a serious game of the year contender. Senua's follow-up journey is the best exploration of mental health that we've seen in games to date, using incredibly striking visual imagery, metaphors and immersive soundscapes to have you feel right there next to her. In what has to be the most photo-realistic game of all time, you're guaranteed to be constantly taken by the hero's adventure as you take in the beautiful and often haunting Viking Iceland. Through mud and dirt, blood and bones, Senua and Ninja Theory in turn bare all to you, the player. A masterpiece, benchmark and magnum opus, Hellblade II is crucial storytelling you won't soon forget.

Console Creatures - Patrick Tremblay - Recommended

With Senua's Saga: Hellblade 2, Ninja Theory shows that video games can be more than simple entertainment: they can be profound artistic and emotional explorations, capable of touching and transforming those who play them. This is an unforgettable journey into the heart of Iceland's darkness, where every step of Senua is a step towards self-discovery.

Digital Trends - Tomas Franzese - 4 / 5

Senua's Saga: Hellblade 2 is a visual stunner for Xbox even if its gameplay isn't too creative.

Echo Boomer - David Fialho - Portuguese - Essential

Ninja Theory has finally delivered the long-awaited and provocative sequel to Hellblade, with one of the most impressive interactive cinematic experiences of the generation, which makes you question what is real and leaves you dreaming of the graphic potential of future games still on current consoles.

Enternity.gr - Christos Chatzisavvas - Greek - 9.5 / 10

With Senua's Saga: Hellblade II, Ninja Theory builds the game it dreamed of, creating a title on a larger scale than any other.

Eurogamer - Johnny Chiodini - 5 / 5

Hellblade 2 continues Senua's story with grace, confidence, surprising brutality and thundering conviction.

GAMES.CH - Olaf Bleich - German - 89%

The game sucks you skin and hair into its fantasy world and creates such an intense bond with the characters and their stories that you want to know at every second how the adventure ends.

Game Informer - Marcus Stewart - 9 / 10

Senua’s Saga: Hellblade II’s conclusion ends on another strong note, and despite my initial reservations about continuing Senua’s story, I walked away happy to see her conquer new monsters, both literal and metaphorical.

GameSpot - Jess Cogswell - 6 / 10

Hellblade 2 is perhaps the most visually remarkable Xbox title to date, but is ultimately undermined by its emphasis on fidelity over story and gameplay.

GamingTrend - Cassie Peterson - 95 / 100

Senua's Saga: Hellblade II is a stunning and immersive storytelling experience that really puts the player into the mind of its titular character. It's even more narratively-focused than the first game (not to its detriment), with a bigger emphasis on how Senua sees and interacts with the world around her. The whole experience from start to finish has been beyond memorable.

Generación Xbox - Pedro del Pozo - Spanish - 9.3 / 10

Ninja Theory manages to place Senua in the Olympus of videogames with the most visually and sonorously powerful game we have seen so far. A spectacular, stunning and awe-inspiring journey.

IGN - Tristan Ogilvie - 8 / 10

Senua’s Saga: Hellblade II is another Viking-worthy feast for the senses that meets the high bar set by its predecessor, even if it never really manages to clear it.

INVEN - Soojin Kim - Korean - 8.5 / 10

The game's high level of immersion makes you want to play it from start to finish in one sitting. With outstanding audiovisual presentation and effects, it gives the feeling that you're playing a movie, not watching it. However, the gameplay elements, such as combat and puzzles, still lack significant meaning, which leads to rather disappoint feelings.

Kakuchopurei - Jonathan Leo - 80 / 100

While the story & gameplay's broad strokes might be familiar, Senua's Saga: Hellblade 2's execution, perspective, and overall production values are just stellar and highlights Ninja Theory's strengths in delivering what it does best: story-heavy cinematic gaming. The characters are fleshed out and well-written, with proper focus on your main character and her turmoils that carry over from the first game, the fighting feels weighty and challenging without being completely frustrating, and the HUD-less approach to presentation is welcome.

Kotaku - Claire Jackson - Unscored

A spellbinding meditation on anguish and compassion, Hellblade II delivers one of the most gripping interactive and sensory experiences of 2024

Merlin'in Kazanı - Murat Oktay - Turkish - 89 / 100

The chaotic story of Senua continues. We set out to take revenge on the Viking raiders who have inflicted devastating losses on the people of Orkney.

Metro GameCentral - GameCentral - 5 / 10

A joyless slog of barely interactive entertainment and a muddled portrayal of mental illness… that just so happens to have the best graphics ever on a video game console.

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

Senua's Saga: Hellblade II is a true masterpiece: a deep and highly immersive narrative experience that manages to make us feel all the protagonist's torment within an impressively realistic world. Ninja Theory reveals itself to be one of the most valuable studios in the Xbox stable here, reaching levels of absolute excellence in graphics, audio, narration, and acting. A must-play.

New Game Network - Alex Varankou - 70 / 100

Senua's Saga: Hellblade II keeps the basics intact, and while a strong lead character, great animations, and simple but enjoyable combat continue to deliver, the poor pacing and performance issues prevent this sequel from breaking free of its past.

Nexus Hub - Sam Aberdeen - 8 / 10

Senua's Saga: Hellblade II is the best-looking game we've ever played - a true visual powerhouse backed by an emotionally charged story and gripping dark fantasy setting, if you can look past some of its shortcomings.

One More Game - Chris Garcia - 9 / 10

Hellblade 2 is a triumph in masterful storytelling and impeccable audio design for Ninja Theory. It is an emotionally powerful experience that depicts a sensitive subject that is hardly talked about in the medium.
To achieve this, the game stripped out several features and systems like combat and exploration in favor of a deeper narrative affair. This is not for everyone, but it is something I would encourage everyone to try at least try out.

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

Next gen graphics and presentation is now among us, next gen game design on the other hand, will be running late.

PC Gamer - Robin Valentine - 58 / 100

Despite its greater scale and visual splendour, this sequel fails to escape the shadow of its predecessor with a muddled tale that Senua herself feels out of place in.

PCGamesN - Cheri Faulkner - 9 / 10

Senua's Saga: Hellblade 2 is an impeccable story of coming to terms with trauma and making difficult decisions, punctuated by moments of outstanding beauty and strength.

Pixel Arts - Danial Dehghani - Persian - 9 / 10

Hellblade 2 is a stellar example of a sequel done right, building on the elements that made the original a landmark in gaming. It stays true to its roots, prioritizing depth and atmosphere over broad appeal. Fans of the first game will find much to love here, as it remains a unique and compelling experience. However, if the original didn't resonate with you, Hellblade 2 follows a similar path and might not change your mind.

Polygon - Yussef Cole - Unscored

Where the first game felt like a journey of self-discovery, both for Senua and for the player, Hellblade 2 feels more invested in creating the myth of Senua: Senua as legendary giant slayer, as mystical seer touched by the underworld.

Press Start - Brodie Gibbons - 9 / 10

Senua's Saga: Hellblade II is yet another arresting, artful chapter in an adventure now two games long. Though it might approach iteration with a very safe hand, only going so far as to correct the original's shortcomings, Ninja Theory's clear strengths in story craft, audiovisual design, as well as their care for the dark subject matter manage to shine through brighter than ever before.

Rectify Gaming - Tyler Nienburg - 10 / 10

Senua's Saga: Hellblade II emerges as a visual and storytelling masterpiece, and is unquestionably the best-looking game I've witnessed on Xbox Series X since its launch.

Rock, Paper, Shotgun - Rick Lane - Unscored

A more uncompromising version of the first game, Hellblade 2 offers a well told story and immaculate presentation. But it's also even simpler, to the point where it treats interaction like an inconvenience.

SECTOR.sk - Matúš Štrba - Slovak - 9.5 / 10

Senua's Saga: Hellblade II is, at its core, a short game, but an excellent one. But it's not for everyone. It's a bloody and often disgusting experience based on strong emotions and immersion in a character that just won't let you go. It's more of an artistic experience than a traditional game.

Saudi Gamer - Arabic - 10 / 10

An exceptionally well realized portrayal of Senua's struggle both real and praying on her fears, with brutal and satisfying combat and puzzles that require you to appreciate the world. It successfully continues what the first game started and improves upon almost every aspect.

Seasoned Gaming - Ainsley Bowden - 9 / 10

Senua's Saga is a journey unlike any other. It's fantastical, evocative, and demonstrative of Ninja Theory being masters of their craft.

Shacknews - TJ Denzer - 9 / 10

Hellblade 2 still does incredibly well. The new story is weighty, the audio is exceptional, the scenery is ridiculously dense and rich, and the combat feels intense and impactful in new and interesting ways.

Slant Magazine - Justin Clark - 3.5 / 5

The newest chapter in Senua’s story is powerfully told but feels like it’s missing a few pages.

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

Senua's Saga is as strong as its predecessor, if not more, and delivers both in its storytelling and on the technical side. The gameplay, however, has still a lot of room for improvements and boils down to almost-QTE combat and boring puzzles. An experience more than an actual and so-called video game, but an experience worth living nonetheless.

Stevivor - Jay Ball - 9.5 / 10

Senua’s Saga Hellblade 2 is a video game only on its surface. Scratch that away and you’ll see that it’s a deep, thought-provoking, interactive experience proving games are an art form that demands skill and talent. Ninja Theory should be very proud.

TechRaptor - Robert Scarpinito - 7.5 / 10

Senua’s Saga: Hellblade II features intense audio, beautiful graphics, and wonderful camera work, creating a powerful presentation that’s worth experiencing. However, the narrative doesn’t quite stick the landing.

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

Senua’s Saga: Hellblade II sets a new bar for performances and presentation. Combined with smart improvements to gameplay, it is arguably the most cinematic, immersive, story-driven experience we’ve ever seen.

TheSixthAxis - Dominic Leighton - Unscored

Just like its forbear, Senua’s Saga: Hellblade II is an oppressive, powerful and haunting example of the power of video games, and one that sets its own parameters for what a digital experience can be. It is a game that must be experienced, not least because, there’s nothing else quite like it.

Tom's Hardware Italia - Andrea Riviera - Italian - 10 / 10

What Ninja Theory has achieved transcends reality, creating a work that is practically perfect for what it aimed to be: an audiovisual adventure with a strong narrative component. Beyond state-of-the-art graphics and sound that will undoubtedly set a standard in the coming years, what truly astonishes is the maturity with which the team has taken an excellent game like the first Hellblade and molded it into something so qualitatively impressive that it becomes difficult to even describe. This elevates the medium to a new communicative level, capable of evoking emotions and surprising players from start to finish. Experiences like Hellblade 2, which leave a lasting impression on the soul, are few and far between in a generation, and we can only rejoice in seeing how the beautiful artistic vision of the Ninja Theory team has become a reality.

Too Much Gaming - Carlos Hernandez - 5 / 5

Hellblade 2 feels like a living, breathing shapeshifter, manipulating its surroundings around the player with precision and consistency, making it one of the most visually stunning video games of this generation. This is an amazing title that carefully balances its artistic and gaming ambitions, a masterpiece that I encourage any gamer to experience.

TrueAchievements - Sean Carey - 9 / 10

Ninja Theory has created an outstanding sequel with Senua's Saga: Hellblade 2. An unforgettable narrative adventure that is brought to life through impeccable sound design, fantastic visuals, and a story that will stick with you long after the final credits roll. Hellblade 2 is one of the best games Xbox has to offer.

TrueGaming - عمر العمودي - Arabic - 8 / 10

Senua's Saga: Hellblade II is a technical achievement for the gaming industry, the visuals are impressive and realistic in a way we haven't seen before and the audio design is very impressive. The game itself though, we think it could've offered more as puzzles are repetitive and combat is quite limited. However, the storytelling is strong in this chapter of Senua's journey, though it feels heavy and depressing.

VideoGamer - Tom Bardwell - 9 / 10

Though uncomfortably bleak and distressing, Helldivers 2 is something truly special.

WellPlayed - James Wood - 6 / 10

Senua's Saga: Hellblade II is an achievement in visual fidelity but fails to define itself amid clumsy retreads and unengaging new ideas.

Worth Playing - Chris "Atom" DeAngelus - 7 / 10

Senua's Saga: Hellblade II is a beautiful but ultimately hollow game. The fantastic presentation props up a story that is less personal and engaging than in the first game, and the gameplay feels like an afterthought. It was great to see Senua again and to see her outside of the grief-misery she was enveloped in during the first game, but beyond that, there's not much to Hellblade II. It's a short and less memorable experience that shows off Ninja Theory's visual craft to its fullest - but it achieves little else.

Xbox Achievements - Dan Webb - 90%

While Senua’s Saga: Hellblade 2 might not set any new standards with its simplistic gameplay mechanics, from an audio-visual experience standpoint, it's frankly quite a stunning experience. Hellblade 2 is as close to playing the leading role in a big budget movie as you’re likely to get, and Ninja Theory’s continued coverage on the complexities of severe mental health issues deserves to be commended once more. Bravo, Ninja Theory. Bravo.

XboxEra - Jon Clarke - 10 / 10

Despite the backing of a company as large and as well-funded as Microsoft, Ninja Theory have, in my opinion, nurtured their independent spirit and kept it well and truly alive in every facet of Senua's Saga: Hellblade II. It's brutal. It's breath-taking. It's brilliant. If this is “Independent AAA”?
Sign me up for more.

ZdobywcyGier.eu - Bartosz Michalik - Polish - 9.5 / 10

Senua's Saga: Hellblade II is undoubtedly one of the best games of this year. Not only does it shine in terms of audio-visual setting, but also in terms of story. The only element that could be considered caveat is at the same time its greatest asset, namely cinematography. Sometimes one gets the impression that the developers, in an effort to achieve the best possible effect, had to make a lot of compromises, which significantly limited the gameplay possibilities. Nevertheless, for a great narrative and immersion, this is something to turn a blind eye to.

Game Information

Game Title: Senua's Saga: Hellblade II
Platforms:

• Xbox Series X/S (May 21, 2024)
• PC (May 21, 2024)

Trailers:

• Senua’s Saga: Hellblade II – Official Trailer The Game Awards 2023
• Senua's Saga: Hellblade II - The Senua Trailer Xbox Games Showcase 2023

Developer: Ninja Theory
Publisher: Xbox Game Studios
Review Aggregator:
OpenCritic - 84 average - 86% recommended - 55 reviews

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

Few games in recent times have been able to do what Senua's Saga: Hellblade 2 has done: make me feel so engaged and immersed that I wish the feeling would never stop. It is a game that will keep you in constant awe throughout the playtime with its fantastic and mysterious story, incredible graphic and sound presentation and realistic and brutal combat that will keep you on the edge of your seat the entire time.

But Why Tho? - Mick Abrahamson - 7.5 / 10

Senua’s Saga: Hellblade II won’t be for everyone. But if you are looking for a brutal continuation of a fantastic story that feels like you’re actually playing a movie, you’ll have a great time here.

CGMagazine - Justin Wood - 7 / 10

Senua's Saga: Hellblade 2 starts incredibly strong in the first half, but after certain revelations, the story speeds up to a point where the conclusion feels rushed and half-baked.

COGconnected - Mark Steighner - 95 / 100

It has been a very long time since I played a game as assured, polished, and emotionally affecting as Senua’s Saga: Hellblade 2.

Cerealkillerz - Steve Brieller - German - 7.9 / 10

If you expect an immersive but not so interactive “game”, Senua’s Saga Hellblade II delivers a short yet intense experience. Ninja Theory has once again skillfully created an impressive atmosphere, as they did in Senua’s Sacrifice. Unfortunately, the issues remain as well: Puzzles and combat are too easy and there is no variety in either. So please keep in mind, that this is more a Hellblade 1.5 than a true sequel.

Checkpoint Gaming - Charlie Kelly - 10 / 10

Senua's Saga: Hellblade II is well worth the wait and is a serious game of the year contender. Senua's follow-up journey is the best exploration of mental health that we've seen in games to date, using incredibly striking visual imagery, metaphors and immersive soundscapes to have you feel right there next to her. In what has to be the most photo-realistic game of all time, you're guaranteed to be constantly taken by the hero's adventure as you take in the beautiful and often haunting Viking Iceland. Through mud and dirt, blood and bones, Senua and Ninja Theory in turn bare all to you, the player. A masterpiece, benchmark and magnum opus, Hellblade II is crucial storytelling you won't soon forget.

Console Creatures - Patrick Tremblay - Recommended

With Senua's Saga: Hellblade 2, Ninja Theory shows that video games can be more than simple entertainment: they can be profound artistic and emotional explorations, capable of touching and transforming those who play them. This is an unforgettable journey into the heart of Iceland's darkness, where every step of Senua is a step towards self-discovery.

Digital Trends - Tomas Franzese - 4 / 5

Senua's Saga: Hellblade 2 is a visual stunner for Xbox even if its gameplay isn't too creative.

Echo Boomer - David Fialho - Portuguese - Essential

Ninja Theory has finally delivered the long-awaited and provocative sequel to Hellblade, with one of the most impressive interactive cinematic experiences of the generation, which makes you question what is real and leaves you dreaming of the graphic potential of future games still on current consoles.

Enternity.gr - Christos Chatzisavvas - Greek - 9.5 / 10

With Senua's Saga: Hellblade II, Ninja Theory builds the game it dreamed of, creating a title on a larger scale than any other.

Eurogamer - Johnny Chiodini - 5 / 5

Hellblade 2 continues Senua's story with grace, confidence, surprising brutality and thundering conviction.

GAMES.CH - Olaf Bleich - German - 89%

The game sucks you skin and hair into its fantasy world and creates such an intense bond with the characters and their stories that you want to know at every second how the adventure ends.

Game Informer - Marcus Stewart - 9 / 10

Senua’s Saga: Hellblade II’s conclusion ends on another strong note, and despite my initial reservations about continuing Senua’s story, I walked away happy to see her conquer new monsters, both literal and metaphorical.

GameSpot - Jess Cogswell - 6 / 10

Hellblade 2 is perhaps the most visually remarkable Xbox title to date, but is ultimately undermined by its emphasis on fidelity over story and gameplay.

GamingTrend - Cassie Peterson - 95 / 100

Senua's Saga: Hellblade II is a stunning and immersive storytelling experience that really puts the player into the mind of its titular character. It's even more narratively-focused than the first game (not to its detriment), with a bigger emphasis on how Senua sees and interacts with the world around her. The whole experience from start to finish has been beyond memorable.

Generación Xbox - Pedro del Pozo - Spanish - 9.3 / 10

Ninja Theory manages to place Senua in the Olympus of videogames with the most visually and sonorously powerful game we have seen so far. A spectacular, stunning and awe-inspiring journey.

IGN - Tristan Ogilvie - 8 / 10

Senua’s Saga: Hellblade II is another Viking-worthy feast for the senses that meets the high bar set by its predecessor, even if it never really manages to clear it.

INVEN - Soojin Kim - Korean - 8.5 / 10

The game's high level of immersion makes you want to play it from start to finish in one sitting. With outstanding audiovisual presentation and effects, it gives the feeling that you're playing a movie, not watching it. However, the gameplay elements, such as combat and puzzles, still lack significant meaning, which leads to rather disappoint feelings.

Kakuchopurei - Jonathan Leo - 80 / 100

While the story & gameplay's broad strokes might be familiar, Senua's Saga: Hellblade 2's execution, perspective, and overall production values are just stellar and highlights Ninja Theory's strengths in delivering what it does best: story-heavy cinematic gaming. The characters are fleshed out and well-written, with proper focus on your main character and her turmoils that carry over from the first game, the fighting feels weighty and challenging without being completely frustrating, and the HUD-less approach to presentation is welcome.

Kotaku - Claire Jackson - Unscored

A spellbinding meditation on anguish and compassion, Hellblade II delivers one of the most gripping interactive and sensory experiences of 2024

Merlin'in Kazanı - Murat Oktay - Turkish - 89 / 100

The chaotic story of Senua continues. We set out to take revenge on the Viking raiders who have inflicted devastating losses on the people of Orkney.

Metro GameCentral - GameCentral - 5 / 10

A joyless slog of barely interactive entertainment and a muddled portrayal of mental illness… that just so happens to have the best graphics ever on a video game console.

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

Senua's Saga: Hellblade II is a true masterpiece: a deep and highly immersive narrative experience that manages to make us feel all the protagonist's torment within an impressively realistic world. Ninja Theory reveals itself to be one of the most valuable studios in the Xbox stable here, reaching levels of absolute excellence in graphics, audio, narration, and acting. A must-play.

New Game Network - Alex Varankou - 70 / 100

Senua's Saga: Hellblade II keeps the basics intact, and while a strong lead character, great animations, and simple but enjoyable combat continue to deliver, the poor pacing and performance issues prevent this sequel from breaking free of its past.

Nexus Hub - Sam Aberdeen - 8 / 10

Senua's Saga: Hellblade II is the best-looking game we've ever played - a true visual powerhouse backed by an emotionally charged story and gripping dark fantasy setting, if you can look past some of its shortcomings.

One More Game - Chris Garcia - 9 / 10

Hellblade 2 is a triumph in masterful storytelling and impeccable audio design for Ninja Theory. It is an emotionally powerful experience that depicts a sensitive subject that is hardly talked about in the medium.
To achieve this, the game stripped out several features and systems like combat and exploration in favor of a deeper narrative affair. This is not for everyone, but it is something I would encourage everyone to try at least try out.

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

Next gen graphics and presentation is now among us, next gen game design on the other hand, will be running late.

PC Gamer - Robin Valentine - 58 / 100

Despite its greater scale and visual splendour, this sequel fails to escape the shadow of its predecessor with a muddled tale that Senua herself feels out of place in.

PCGamesN - Cheri Faulkner - 9 / 10

Senua's Saga: Hellblade 2 is an impeccable story of coming to terms with trauma and making difficult decisions, punctuated by moments of outstanding beauty and strength.

Pixel Arts - Danial Dehghani - Persian - 9 / 10

Hellblade 2 is a stellar example of a sequel done right, building on the elements that made the original a landmark in gaming. It stays true to its roots, prioritizing depth and atmosphere over broad appeal. Fans of the first game will find much to love here, as it remains a unique and compelling experience. However, if the original didn't resonate with you, Hellblade 2 follows a similar path and might not change your mind.

Polygon - Yussef Cole - Unscored

Where the first game felt like a journey of self-discovery, both for Senua and for the player, Hellblade 2 feels more invested in creating the myth of Senua: Senua as legendary giant slayer, as mystical seer touched by the underworld.

Press Start - Brodie Gibbons - 9 / 10

Senua's Saga: Hellblade II is yet another arresting, artful chapter in an adventure now two games long. Though it might approach iteration with a very safe hand, only going so far as to correct the original's shortcomings, Ninja Theory's clear strengths in story craft, audiovisual design, as well as their care for the dark subject matter manage to shine through brighter than ever before.

Rectify Gaming - Tyler Nienburg - 10 / 10

Senua's Saga: Hellblade II emerges as a visual and storytelling masterpiece, and is unquestionably the best-looking game I've witnessed on Xbox Series X since its launch.

Rock, Paper, Shotgun - Rick Lane - Unscored

A more uncompromising version of the first game, Hellblade 2 offers a well told story and immaculate presentation. But it's also even simpler, to the point where it treats interaction like an inconvenience.

SECTOR.sk - Matúš Štrba - Slovak - 9.5 / 10

Senua's Saga: Hellblade II is, at its core, a short game, but an excellent one. But it's not for everyone. It's a bloody and often disgusting experience based on strong emotions and immersion in a character that just won't let you go. It's more of an artistic experience than a traditional game.

Saudi Gamer - Arabic - 10 / 10

An exceptionally well realized portrayal of Senua's struggle both real and praying on her fears, with brutal and satisfying combat and puzzles that require you to appreciate the world. It successfully continues what the first game started and improves upon almost every aspect.

Seasoned Gaming - Ainsley Bowden - 9 / 10

Senua's Saga is a journey unlike any other. It's fantastical, evocative, and demonstrative of Ninja Theory being masters of their craft.

Shacknews - TJ Denzer - 9 / 10

Hellblade 2 still does incredibly well. The new story is weighty, the audio is exceptional, the scenery is ridiculously dense and rich, and the combat feels intense and impactful in new and interesting ways.

Slant Magazine - Justin Clark - 3.5 / 5

The newest chapter in Senua’s story is powerfully told but feels like it’s missing a few pages.

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

Senua's Saga is as strong as its predecessor, if not more, and delivers both in its storytelling and on the technical side. The gameplay, however, has still a lot of room for improvements and boils down to almost-QTE combat and boring puzzles. An experience more than an actual and so-called video game, but an experience worth living nonetheless.

Stevivor - Jay Ball - 9.5 / 10

Senua’s Saga Hellblade 2 is a video game only on its surface. Scratch that away and you’ll see that it’s a deep, thought-provoking, interactive experience proving games are an art form that demands skill and talent. Ninja Theory should be very proud.

TechRaptor - Robert Scarpinito - 7.5 / 10

Senua’s Saga: Hellblade II features intense audio, beautiful graphics, and wonderful camera work, creating a powerful presentation that’s worth experiencing. However, the narrative doesn’t quite stick the landing.

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

Senua’s Saga: Hellblade II sets a new bar for performances and presentation. Combined with smart improvements to gameplay, it is arguably the most cinematic, immersive, story-driven experience we’ve ever seen.

TheSixthAxis - Dominic Leighton - Unscored

Just like its forbear, Senua’s Saga: Hellblade II is an oppressive, powerful and haunting example of the power of video games, and one that sets its own parameters for what a digital experience can be. It is a game that must be experienced, not least because, there’s nothing else quite like it.

Tom's Hardware Italia - Andrea Riviera - Italian - 10 / 10

What Ninja Theory has achieved transcends reality, creating a work that is practically perfect for what it aimed to be: an audiovisual adventure with a strong narrative component. Beyond state-of-the-art graphics and sound that will undoubtedly set a standard in the coming years, what truly astonishes is the maturity with which the team has taken an excellent game like the first Hellblade and molded it into something so qualitatively impressive that it becomes difficult to even describe. This elevates the medium to a new communicative level, capable of evoking emotions and surprising players from start to finish. Experiences like Hellblade 2, which leave a lasting impression on the soul, are few and far between in a generation, and we can only rejoice in seeing how the beautiful artistic vision of the Ninja Theory team has become a reality.

Too Much Gaming - Carlos Hernandez - 5 / 5

Hellblade 2 feels like a living, breathing shapeshifter, manipulating its surroundings around the player with precision and consistency, making it one of the most visually stunning video games of this generation. This is an amazing title that carefully balances its artistic and gaming ambitions, a masterpiece that I encourage any gamer to experience.

TrueAchievements - Sean Carey - 9 / 10

Ninja Theory has created an outstanding sequel with Senua's Saga: Hellblade 2. An unforgettable narrative adventure that is brought to life through impeccable sound design, fantastic visuals, and a story that will stick with you long after the final credits roll. Hellblade 2 is one of the best games Xbox has to offer.

TrueGaming - عمر العمودي - Arabic - 8 / 10

Senua's Saga: Hellblade II is a technical achievement for the gaming industry, the visuals are impressive and realistic in a way we haven't seen before and the audio design is very impressive. The game itself though, we think it could've offered more as puzzles are repetitive and combat is quite limited. However, the storytelling is strong in this chapter of Senua's journey, though it feels heavy and depressing.

VideoGamer - Tom Bardwell - 9 / 10

Though uncomfortably bleak and distressing, Hellblade 2 is something truly special.

WellPlayed - James Wood - 6 / 10

Senua's Saga: Hellblade II is an achievement in visual fidelity but fails to define itself amid clumsy retreads and unengaging new ideas.

Worth Playing - Chris "Atom" DeAngelus - 7 / 10

Senua's Saga: Hellblade II is a beautiful but ultimately hollow game. The fantastic presentation props up a story that is less personal and engaging than in the first game, and the gameplay feels like an afterthought. It was great to see Senua again and to see her outside of the grief-misery she was enveloped in during the first game, but beyond that, there's not much to Hellblade II. It's a short and less memorable experience that shows off Ninja Theory's visual craft to its fullest - but it achieves little else.

Xbox Achievements - Dan Webb - 90%

While Senua’s Saga: Hellblade 2 might not set any new standards with its simplistic gameplay mechanics, from an audio-visual experience standpoint, it's frankly quite a stunning experience. Hellblade 2 is as close to playing the leading role in a big budget movie as you’re likely to get, and Ninja Theory’s continued coverage on the complexities of severe mental health issues deserves to be commended once more. Bravo, Ninja Theory. Bravo.

XboxEra - Jon Clarke - 10 / 10

Despite the backing of a company as large and as well-funded as Microsoft, Ninja Theory have, in my opinion, nurtured their independent spirit and kept it well and truly alive in every facet of Senua's Saga: Hellblade II. It's brutal. It's breath-taking. It's brilliant. If this is “Independent AAA”?
Sign me up for more.

ZdobywcyGier.eu - Bartosz Michalik - Polish - 9.5 / 10

Senua's Saga: Hellblade II is undoubtedly one of the best games of this year. Not only does it shine in terms of audio-visual setting, but also in terms of story. The only element that could be considered caveat is at the same time its greatest asset, namely cinematography. Sometimes one gets the impression that the developers, in an effort to achieve the best possible effect, had to make a lot of compromises, which significantly limited the gameplay possibilities. Nevertheless, for a great narrative and immersion, this is something to turn a blind eye to.

ARABIC
ShinMazingerZMortalKombat12 (AI)
https://youtube.com/watch?v=kwwez--fGC8
BULGARIAN
Rivan V. King (Female)
https://youtube.com/watch?v=G0IxV07DqGw
Legendarytedi205x
https://youtu.be/8s6W_cAqzco
Todd Stams
https://youtube.com/watch?v=KuL5TQKoL5M
FanDubBG
https://youtube.com/watch?v=W5AswaBECiw
Juro
https://youtube.com/watch?v=Rx0EQBu3_mk
CATALAN
ScottexDisintegrator
https://youtube.com/watch?v=RLYKPZv0IaQ
CZECH
Korty CZ (Parody)
https://youtube.com/watch?v=qjnjPBza_3k
AnkaCzDab
https://youtube.com/watch?v=X0HqizcDLcY
DuoUrbini CZ
https://youtu.be/bygJUYbrsOE?si=xYBSOUPlPz-k87ZP
Dabingový_brloch
https://youtube.com/watch?v=QJRUUe7vj3M
(Deleted)
motiVader
https://youtube.com/watch?v=4QX_xqXMk_U
Viliam Beñovič
https://youtube.com/watch?v=enbNuSe9z7k
Michal Steven Kašpar [Dabing všeho druhu]
https://youtube.com/watch?v=sO3kk2MEihs
Jan Kutička
https://youtube.com/watch?v=MdccBaUS_WQ
DRK Club [ Český Dabing ]
https://youtu.be/tncRje6-jKE?si=F9BMkG_E7KaiQ7Kp
Slackeři
https://youtu.be/Imgd50TWZNE?si=Q-TXSJaLfso4587D
GoldDabStudio_Cz
https://youtube.com/watch?v=KGHC5xkTxWQ
Dejfy
https://youtube.com/watch?v=3tdKoB1KFzk
Korty CZ
https://youtube.com/watch?v=bfqKQWTnDIM
Okurky v Malinovce
https://youtube.com/watch?v=iVtav17oMVQ
Okurky v Malinovce (Male - Female)
https://youtube.com/watch?v=ilWxQue0EOI
Dabingový_brloch (Parody)
https://youtube.com/watch?v=A-uw2vFSt_c
RK productions
https://youtube.com/watch?v=j_kefeVzQt4
U Dvou Kryp-Lů
https://youtube.com/watch?v=_fjW9QKUnTg
AllDabing
https://youtube.com/watch?v=ePSwd7vd4Sk
MATESING (Children)
https://youtube.com/watch?v=RdX1Ucgq9Dc
DJSoukyss (Children)
https://youtube.com/watch?v=IpJvyCxJHvk
Foxxane CZ
https://youtube.com/watch?v=XWVflOyhvGE
NIX (Children)(Rasposo)
https://youtube.com/watch?v=Y-EdASl0olw
TigerCzSMG
https://youtube.com/watch?v=QmZyCn5eKes
Nispík (Gay Parody)
https://youtube.com/watch?v=VR9lovRN_es
Marvík dabuje (Children)
https://youtube.com/watch?v=rY5BHilHap4
deny_NDD (Children)
https://youtube.com/watch?v=eTL0JENtfIA
Somebody._ (Children)
https://youtube.com/watch?v=VU9LZn2Bz4A
GAMERŘEJ (Children)
https://youtu.be/Pt8yRfT_ujg
KeuFlupCREW (Children)
https://youtube.com/watch?v=1C1TzslScGA
Damen the demon 2 dabing (Parody but better) (Children)
https://youtube.com/watch?v=NhizYA6UYbI
Damel the demon 2 dabing (Parody) (Children)
https://youtube.com/watch?v=aG2dFILypRY
DUTCH
Singing Bros
https://youtube.com/watch?v=BGxhE7nSJBY
SupercatLuigi player (Children)
https://youtube.com/watch?v=LX5BVmU1xaw
DeZuidNederlander (Parody)
https://youtube.com/watch?v=T5qkHTuo2kA
PizzaSpiderNL (Parody)
https://youtube.com/watch?v=GRg5mFCSIYk
kittypaw (Female)
https://youtube.com/watch?v=-_ChuW8WAsk
FreekandElvis (Parody)
https://youtube.com/watch?v=7GcwhKrK6Cc
ENGLISH
Caleb Hyles (Metal)
https://youtube.com/watch?v=YCCG-jbi4sA
Isabella Silva
https://youtube.com/watch?v=-KlYsQ4wgVc
MEEM EN Official (Afaer)
https://youtube.com/watch?v=hzcymX63KKk
Flaconadyr (Parody)
https://youtube.com/watch?v=dfGyDLcF9BE
Voice Actor Bobby G.
https://youtu.be/uuB6xLfJNaU
Re-Crix
https://youtube.com/watch?v=ySs4mSZedTk
FusionX
https://youtu.be/TQIrxhnPC6M?si=xgmCA8PNtef009JZ
Flaconadir (Parody)
https://youtube.com/watch?v=BIDfZNlS22A
chai (Female)
https://youtube.com/watch?v=Ps-NdqjmUvo
homeissunz (Female)
https://youtu.be/bnTwPRNnfUc
zelicko
https://youtube.com/watch?v=MmvbAiZo-FU
[UnkEmoji]Somebody[UnkEmoji] (Children)
https://youtube.com/watch?v=LshyGUgVoiM
ENGLISH (FINNISH)
Onepiece_fan732 (Children) (Parody)
https://youtube.com/watch?v=v7iHrjj_V4Q
ENGLISH (Scottish)
VoiceoverMayhem
https://youtube.com/watch?v=2HEvVZuz2aE
HCA (Parody) (Children)
https://youtube.com/watch?v=QK7p0A_B1KQ
FINNISH
Little koji 9000
https://youtube.com/watch?v=78WOMNNGgyw
Dubberi
https://youtube.com/watch?v=gMNni1jDnAY
Reksi
https://youtube.com/watch?v=MJMhWSgPiYg
Punzki (Parody)
https://youtube.com/watch?v=78WOMNNGgyw
GERMAN
Dayuchuu
https://youtube.com/watch?v=DXzNwKzdT6M
Unety
https://youtube.com/watch?v=s8abRLDbdK8
GREEK
Blue Cupcake
https://youtube.com/watch?v=mhdVSIXZZSs
HEBREW
RomGou
https://youtube.com/watch?v=JfGN6Q01GVg
SH4DOW
https://youtube.com/watch?v=hMrez0K3q0s
comic sans
https://youtube.com/watch?v=obzbMGvadlM
ShameneToons
https://youtube.com/watch?v=RuTUu1Lm7oY
HUNGARIAN
DreeFool25
https://youtube.com/watch?v=tsHz5bj6nNY
GGeery
https://youtube.com/watch?v=M1rJ5gybqzM
INDONESIAN
Emmy Tiarien
https://youtube.com/watch?v=TieWXqF4Mqk
INDO DUB
https://youtube.com/watch?v=7U8R1jUyBGc
imago creator:]
https://youtube.com/watch?v=B3VEaM-SAEo
ITALIAN
Scar Cover
https://youtube.com/watch?v=Q7fuqmIjYMQ
Real_sublime_bro (Children)
https://youtube.com/watch?v=Ayj1LPERmpM
Leonpepthegamer (Child)
https://youtube.com/watch?v=nW4jYwSojJ0
KOREAN
더빙하는 키엘
https://youtu.be/AzkWEVA-EyE
위크원
https://youtube.com/watch?v=QYbC8WhVPh8
체리벨라 Cherrybellat (Female)
https://youtube.com/watch?v=eBYSX7NJzH4
재원 JWON
https://youtu.be/HFtD7G5F5k8
BLACK_RAY
https://youtube.com/watch?v=JWzbSAe7lhQ
NORWEIGAN
Dobbern (Child Alastor)
https://www.youtube.com/watch?v=NYd8lqk6YMk
KingWi (Children)
https://www.youtube.com/watch?v=xUS7ch2H0uk
POLISH
CzachaDymi Fandub
https://youtube.com/watch?v=Foh5XmXdZ-Q
PORTUGUESE (BRAZIL)
Pessoa secreta (Child)
https://youtube.com/watch?v=_5IjwITP4xs
PORTUGUESE (PORTUGAL)
Guadium
https://youtube.com/watch?v=OOuBLHUzm2w
R.L
https://youtube.com/watch?v=Odi-6vKn5uo
joao borlido
https://youtube.com/watch?v=PeNibblu20A
Mysterion Fandubs
https://youtube.com/watch?v=nZDgpVrjHes
Katsuo
https://youtube.com/watch?v=couLF5ac5Co
ROMANIAN
Blue Guy
https://youtube.com/watch?v=4aWh0joQT10
giuliascovers (Female)
https://youtube.com/watch?v=4Evvm6VC0k8
Cris W. VA
https://youtube.com/watch?v=077YBcYWXoE
Varcolacul Animatii
https://youtube.com/watch?v=LbZT--IEhEg
comYn (Practice)
https://youtube.com/watch?v=p8jlnj0QdrM
DERE_BIG_DJ (Child)
https://youtube.com/watch?v=fiN4y9drWQ0
RUSSIAN
Isabella Quinns (Female)
https://youtube.com/watch?v=YmIPbJAwgys
HazbinHotelNa
https://youtube.com/watch?v=9TYqK-n8b1E
Zemo
https://youtube.com/watch?v=8y5c0PX6Cw0
Кофеïнiй Профессоръ (Female/Male)
https://youtube.com/watch?v=csm5o_APfEA
TRaaST (Parody)
https://youtube.com/watch?v=5BpxJnwjSB0
SERBO-CROATION
Husty Mix
https://youtube.com/watch?v=ZJYhS1pq8GE
SPANISH (Latin America)
Len (Parody)
https://youtube.com/watch?v=haHNSQA_gPA
VFretsu (Parody)
https://youtube.com/watch?v=FgEQ89C7Y2s
Enkko Dubs
https://youtu.be/eX3MzzO4sBw
Cheemsy (Practice)
https://youtube.com/watch?v=No2uykxVWNw
MAXIM TRU
https://youtu.be/Wvbk6jCnboE
SPANISH (Argentinian)
Pendorchito (Parodia)
https://youtube.com/watch?v=ULzSa3lsoCc
XIlenarox
https://youtube.com/watch?v=DNo_lXmpdT0
1L0V3 (Parodia)
https://youtube.com/watch?v=ehFsha0xeng
ZULU
DM Studio
https://youtube.com/watch?v=gaeGNYJb7Rg

I've studied Ancient Greek in undergrad so far, and I'm planning on self-studying Latin this summer out of Wheelock's Latin 7th Edition. Is there anyone who's interested who would like to learn alongside me?

I'm 30 single male working as a Production Support Engineer at one of the top 3 banks in USA, doing a boring IT Job. Is it too late to switch career, navigate towards Development or Infrastructure automation? I hated Java during my undergrad itself but I love Python programming and ultimately want to navigate to either Infrastructure Automation or DevOps. Or if I can really get a good a understanding of Machine Learning (which may be difficult cos it's Greek and Latin currently for me) would also love to move towards ML since that is the future ??

The mythical references within tarot cards provide a rich tapestry of symbolism, drawing upon ancient myths to convey universal archetypes and timeless themes. Here are a few examples of how mythology influences the symbolism in the tarot deck:

1. The Fool:
   
   • Mythical Reference: The Fool is reminiscent of the archetypal "wise fool" found in various mythologies, symbolizing innocence, spontaneity, and the journey into the unknown.
   • Connection: Similar to the trickster figures in mythology, The Fool embodies the idea of embracing unconventional paths and unexpected adventures.
2. The High Priestess:
   
   • Mythical Reference: The High Priestess reflects the archetype of the mysterious and wise female figure found in many ancient myths and religious traditions, such as the Greek goddess Persephone or the Egyptian goddess Isis.
   • Connection: Like these mythical figures, The High Priestess embodies intuition, hidden knowledge, and the link between the conscious and unconscious realms.
3. The Emperor:
   
   • Mythical Reference: The Emperor draws on the archetype of powerful rulers in myths, like King Arthur or Zeus, symbolizing authority, structure, and leadership.
   • Connection: Reflects the mythic theme of order and governance, emphasizing the need for structure and discipline in achieving goals.
4. The Lovers:
   
   • Mythical Reference: The Lovers card resonates with mythical love stories such as the tales of Eros and Psyche or Tristan and Isolde, symbolizing profound connections, choices, and the merging of opposites.
   • Connection: Like these myths, The Lovers card explores the transformative power of love and the decisions that shape one's relationships.
5. The Wheel of Fortune:
   
   • Mythical Reference: The concept of the wheel of fate or fortune is rooted in ancient mythology, such as the Moirai or Fates in Greek mythology, who spin the thread of destiny.
   • Connection: The Wheel of Fortune embodies the cyclical nature of life, the inevitability of change, and the interconnectedness of events.
6. The Tower:
   
   • Mythical Reference: The Tower's destructive force echoes myths of divine punishment, like the story of the Tower of Babel or the fall of Icarus, highlighting the consequences of hubris.
   • Connection: Represents the mythic theme of downfall and rebirth, emphasizing the transformative power of destruction and rebuilding.

By incorporating these mythical references, tarot cards tap into the collective unconscious, allowing individuals to connect with archetypal energies and universal narratives that resonate across cultures and time periods.

1. The Hermit:
   
   • Mythical Reference: The archetype of the wise hermit is seen in myths like the journey of Odysseus or the quest for enlightenment in Eastern philosophies.
   • Connection: The Hermit reflects the introspective journey of self-discovery, seeking wisdom through solitude and inner reflection, much like mythical hermits on spiritual quests.
2. The Chariot:
   
   • Mythical Reference: Draws inspiration from heroic charioteers in myths, such as the sun god Apollo driving his chariot across the sky or heroic figures like Achilles in battle chariots.
   • Connection: Symbolizes the triumphant journey, willpower, and the harnessing of opposing forces to achieve victory, akin to mythical heroes overcoming challenges.
3. The Star:
   
   • Mythical Reference: The Star card echoes the concept of guiding celestial lights found in myths, like the North Star guiding sailors or the myth of the Star of Bethlehem.
   • Connection: Represents hope, inspiration, and divine guidance, mirroring the mythic idea of celestial symbols leading the way through darkness.
4. The Moon:
   
   • Mythical Reference: The Moon card reflects lunar symbolism found in myths, such as the various lunar deities like Selene in Greek mythology or the werewolf tales associated with lunar cycles.
   • Connection: Symbolizes the subconscious, intuition, and the mysterious aspects of the psyche, akin to the mystical and transformative elements linked to lunar myths.
5. The Sun:
   
   • Mythical Reference: The Sun card embodies solar deities in myths, like the Egyptian god Ra or the Greek god Apollo, symbolizing vitality, enlightenment, and life force.
   • Connection: Represents the joyous, life-affirming energy associated with solar myths, bringing clarity, positivity, and the promise of a new day.
6. Judgement:
   
   • Mythical Reference: The theme of judgment and resurrection is prevalent in various religious and mythological narratives, such as the concept of divine judgment in Christianity or the Egyptian myth of Osiris being judged in the afterlife.
   • Connection: Signifies a spiritual awakening, self-evaluation, and the potential for rebirth, aligning with the transformative judgments seen in mythic tales.

Incorporating these mythical elements deepens the layers of meaning within tarot cards, allowing users to explore profound archetypes, cultural narratives, and universal themes that resonate across human experiences.

1. The Devil:
   
   • Mythical Reference: The Devil card draws inspiration from various depictions of demonic figures in religious and mythological traditions, representing temptation, bondage, and the shadow aspects of human nature.
   • Connection: Reflects the mythic idea of confronting inner demons, acknowledging desires, and breaking free from self-imposed limitations.
2. The Empress and The Emperor (Pair):
   
   • Mythical Reference: These cards can be linked to archetypal figures in mythology, such as Earth Mother goddesses like Demeter or nurturing kings like Gilgamesh, symbolizing fertility, abundance, and earthly authority.
   • Connection: Together, they represent the balance of masculine and feminine energies, highlighting the harmonious interplay between creative and structured forces in the universe.
3. The Magician:
   
   • Mythical Reference: The Magician card echoes the archetype of the alchemist or sorcerer in myths, embodying the transformative power of magic and the manipulation of elements.
   • Connection: Symbolizes personal empowerment, manifestation, and the ability to channel one's inner resources to create change, akin to mythical figures wielding magical abilities.
4. Death:
   
   • Mythical Reference: The Death card is reminiscent of transformative figures in myths, like the phoenix rising from its ashes or the Hindu god Shiva, symbolizing destruction as a precursor to renewal.
   • Connection: Represents profound change, letting go of the old, and embracing transformation, aligning with the cyclical nature of death and rebirth in mythical narratives.
5. Justice:
   
   • Mythical Reference: Justice is often associated with mythic representations of divine or cosmic balance, such as the Greek goddess Themis or the concept of Ma'at in Egyptian mythology.
   • Connection: Symbolizes fairness, accountability, and the cosmic order, reflecting the mythic theme of moral equilibrium and the consequences of actions.
6. Strength:
   
   • Mythical Reference: Strength draws from mythical tales of heroes demonstrating inner strength and courage, like Hercules or the Norse god Thor.
   • Connection: Symbolizes resilience, fortitude, and the ability to overcome challenges through inner strength, akin to the heroic feats in mythical stories.

These mythical connections deepen the layers of symbolism in tarot cards, allowing users to tap into archetypal energies and narratives that have resonated across cultures and centuries. Each card becomes a gateway to timeless themes and universal truths found in the rich tapestry of mythology.

1. The Hierophant:
   
   • Mythical Reference: The Hierophant can be associated with mythic figures representing wisdom and spiritual guidance, such as the ancient Greek philosopher-sage Pythagoras or the biblical high priest Melchizedek.
   • Connection: Symbolizes spiritual teachings, tradition, and the transmission of sacred knowledge, aligning with the mythical archetype of wise mentors who pass on profound wisdom.
2. The Hanged Man:
   
   • Mythical Reference: The Hanged Man card reflects the concept of voluntary sacrifice found in various myths, such as the Norse god Odin hanging from the World Tree Yggdrasil to gain wisdom.
   • Connection: Signifies surrender, letting go, and gaining new perspectives through sacrifice, mirroring the transformative nature of voluntary sacrifice in mythic narratives.
3. The World:
   
   • Mythical Reference: The World card draws from cosmological myths, representing the completion of a cycle and the attainment of enlightenment, similar to the Hindu concept of Moksha or the Norse myth of the World Tree Yggdrasil.
   • Connection: Symbolizes cosmic harmony, integration, and the culmination of a journey, resonating with the mythical themes of cosmic order and spiritual fulfillment.
4. The Fool's Journey:
   
   • Mythical Reference: The Fool's Journey through the tarot deck can be compared to the archetypal hero's journey found in mythologies worldwide, where the hero undergoes trials, encounters mentors, and ultimately achieves personal transformation.
   • Connection: Mirrors the universal mythic narrative of self-discovery, challenges, and growth, illustrating that each individual's journey aligns with the archetypal hero's quest seen in myths across cultures.

These mythical associations with tarot cards contribute to the depth and universality of their symbolism. They enable users to connect with ancient wisdom, archetypal stories, and cultural narratives that transcend time, offering a rich and meaningful framework for personal introspection and spiritual exploration within the tarot.

1. The Suit of Cups:
   
   • Mythical Reference: The Suit of Cups, representing emotions and relationships, echoes the theme of sacred vessels or grails in mythology, such as the Holy Grail in Arthurian legends or the Cup of Jamshid in Persian mythology.
   • Connection: Reflects the idea of emotional fulfillment, spiritual connection, and the quest for inner nourishment akin to the mythical pursuit of sacred vessels symbolizing divine presence.
2. The Suit of Swords:
   
   • Mythical Reference: The Suit of Swords, associated with intellect and challenges, can be likened to mythic tales of powerful swords like Excalibur in Arthurian legend or the celestial sword Kusanagi in Japanese mythology.
   • Connection: Symbolizes the power of thought, truth, and the ability to cut through illusions, aligning with the mythical theme of legendary swords representing clarity and decisive action.
3. The Suit of Wands:
   
   • Mythical Reference: The Suit of Wands, embodying creativity and passion, resonates with mythical symbols of magical staffs or wands, like the staff of Hermes or the Celtic druid's wand.
   • Connection: Represents the creative spark, inspiration, and the transformative power of passion, akin to mythical symbols of magical wands as conduits for creative energy.
4. The Suit of Pentacles:
   
   • Mythical Reference: The Suit of Pentacles, associated with material aspects and prosperity, draws inspiration from mythical symbols of earthly treasures, such as the legendary city of El Dorado or the philosopher's stone in alchemical myths.
   • Connection: Symbolizes material stability, abundance, and the tangible rewards of one's efforts, mirroring the mythical pursuit of wealth and the alchemical quest for transformative treasures.
5. Tarot and Alchemy:
   
   • Mythical Reference: The connection between tarot and alchemy reflects the mythical pursuit of the philosopher's stone—an elusive substance believed to transform base metals into gold and grant immortality.
   • Connection: Mirrors the transformative journey within tarot, where users seek self-discovery, personal growth, and the alchemical process of inner refinement.

In exploring these connections, tarot cards become a bridge between personal introspection and the collective wisdom embedded in ancient myths. The intertwining of mythical references within the tarot deck adds layers of meaning, providing a profound and universal language for individuals to navigate their inner landscapes and spiritual journeys.

I've only recently dug my teeth into the lore primer, but I'm intrigued by the changed role and somewhat expanded lifespan of the Eastern Roman Empire/Byzantium in the Trench Crusade timeline.
There are only a few data points specific to the ERE in the lore primer that I have noted. In 1477 Argos, a city of Byzantine Morea, was 'taken by God and it is no more.' Nearly a hundred years later, in 1573, the 'Sacred Order of the Dragon halts the heretic advance after the destruction of Byzantium,' twenty-eight years after the destruction of the old Antioch. Constantinople is described as being conquered by the legions of the infernal Marquis Kimaris following the destruction of Antioch, and there is a final mention that one can still meet 'the last remnants of the Varangian Guard' in New Antioch, circa 1914.
So, some form of the Byzantine empire seems to have survived till shortly after the fall of Antioch, around 100 years longer than in our own timeline. Based on the Trench Crusade timeline there does not seem to be an exact analogue to the 4th Crusade, when Latin crusaders sacked Constantinople and ultimately established a Latin kingdom in the heart of Byzantine territory rather than actually fight the infidels. In fact, the Great Schism between Catholic and Orthodox churches that still divides those denominations in the real world seems to have been forcibly fused closed by the pressure and violence of the unending crusade against Hell, based on the blending of Orthodox and Catholic iconography present in depictions of trench crusaders, and the snippets from new holy books in the primer and social media posts. The post-First Crusade Byzantine Empire seems to have been more tightly integrated into the rest of Christendom, forcibly, by the constant pressure of the heretic advance.
In real history the Ottoman Turks who conquered Constantinople did not become a naval power until after the conquest, but the heretics seem to have a powerful and successful naval arm and have controlled the same territories that built and crewed the real world Ottoman navy since as early as 1101, when the heretics first overran the Levant.
Based on what few details we have, I speculate that the conquest of Byzantium by the heretics involved a heavy naval component. I wonder about the status of Crete, Cyprus and the many, many lesser islands of the eastern Mediterranean. When did the first heretic corsairs strike out from the shores of what used to be Syria? It makes me wonder about the fate of the Knights Hospitaler on Rhodes, how long they held out, if they ever fell. We don't know yet, but it's telling to me that Argos is removed from the world by God, or whatever really happened there, more than a century before Byzantium as a whole is finally destroyed, mainly because the Morea outlived the Byzantine Empire itself as a Greek Christian principality--only by a few years, but the Morea was still independent when the Ottomans took Constantinople in our timeline, and had to be conquered in a subsequent campaign. Instead, Argos is removed from the Earth seemingly long before Constantinople falls, and that suggests to me that it was at least threatened with destruction by the heretics--which would imply a strong threat to Byzantium coming from the south, the sea, to threaten the coast.
Overall, though the Byzantines seem to have survived later into the Trench Crusade timeline than our own, that existence seems much more torturous. Attacked from the sea and from the land, Byzantium would've been the front line of the heretics slow advance for centuries on end. Byzantine territroy would've been slowly devoured by heretic conquest, while corsair attacks ensured danger and ruin could arrive at any moment even well behind the front lines. It's a compelling slice of the setting: the slowly devoured countryside of Anatolia and Greece, converted to heinous battlefields and scenes of horror, then full infernal desolation by heretic conquest.
Thinking in terms of running a roleplaying game or a Pike & Shot-based wargame in the Trench Crusade universe, the decline and final fall of the Byzantine Empire is a very compelling slice of the setting for me. This post is mostly a way for me to put my thoughts on the subject down in writing, I'd be delighted to read any other speculation on the history and role of Byzantium in Trench Crusade.