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2024.05.21 11:31 Toteldejesus How octogenarian Cecile Guidote-Alvarez rushed to the beauty salon to tackle West Philippine Sea

On a rainy Saturday afternoon not so long ago when internet connection was fluctuating in most homes, the 80-year-old Cecile Guidote-Alvarez, widow of the late Senator Heherson Alvarez, carrying a mini iPad, hurriedly alighted from a three-wheeled pedicab Toktok and stormed her way into a popular coffee shop in a mall in Manila.

A senior citizen in panic mode, she told the stunned baristas she’s looking for a Wi-Fi connection because she was about to interview retired Supreme Court Associate Justice Antonio Carpio via Zoom.
The coffee shop, a known world brand, has Wi-Fi exclusive to its employees, so the old lady was told to try other establishments. She went from one coffee shop to another only to be told the same, until a kind stranger led her to a well-known beauty salon with a free internet connection.
The lady salon attendant was very accommodating to the octogenarian, even typing the password on her IPad. Of course, she needed to avail herself of their salon services. Initially, she opted for a haircut, but since she needed to talk and hear clearly who she was talking to, she settled for a foot spa with pedicure.
“They lowered the volume of the piped-in music, and since there were less customers because it’s been raining all day, I was able to do my interview,” Guidote-Alvarez said.
For the next half-an-hour, the hair dressers and manicurists working with their scissors, nail clippers and cuticle removers on their customers’ hair and fingernails, listened to Carpio and Guidote-Alvarez discussed how Filipino fishermen and the Philippine Navy ships helplessly negotiate their ways in Scarborough Shoal amid the territorial disputes in the West Philippine Sea.
“They were all very nice to me. I was able to finish my interview, with newly pedicured nails,” she told The Diarist.
For those who’ve worked with Guidote-Alvarez, her steadfast, almost stubborn, nature to accomplish a task, is nothing out of the ordinary. She would improvise, find alternatives, call up friends and former students, wake them up from sleep, just to get things done.
But now, in her 80s, legally blind and nearly deaf, she has mellowed down.
Cecile Alvarez with her mentors, National Artist for Literature Alejandro Roces, Jr and Fr. James Reuter. SJ
In her twilight years, Guidote-Alvarez has been solely hosting the 57-year-old Radyo Balintataw on DZRH, one of the oldest radio stations in the Philippines, where she tackles a wide range of topics, from climate change, women’s health, theater, culture, dance, to current issues, apart from playing old recordings of classic radio plays she produced and directed, dating back to the late ‘80s.
She shared with TheDiarist.ph how she started and continues to host one of the longest running advocacy programs on AM Radio.
Theater on TV
After founding the Philippine Educational Theater Association (PETA) on April 7, 1967, or exactly 57 years ago, Guidote-Alvarez thought of the need to expose PETA’s members to television, so she started conceptualizing Balintataw, which in Filipino means the pupil of the eye, but in a larger context has something to do with having wild imagination, or what you might see if you have a third eye.
“I designed Balintataw as a bridge between cinema and the stage, where the youth being trained in theater skills can have a ready-made laboratory experience linked with the film and entertainment industry that would likewise have a natural on-the-job training and orientation regarding the theatrical discipline of working with a literary script, whether dramatic or comic—not the regular improvised script done on taping or copycat scripts from foreign themes,” Guidote-Alvarez wrote in her yet-to-be published Memoir of a Freedom Fighter’s Wife.
“A primary goal when I conceived PETA was to initiate and sustain artistic expression that draws meaning and power from the lives of the people, and sharing the literary gems with a greater number of audiences through a Broadcast Theater-Film Program with Balintataw on Channel 5,” she added.
“No matter how little the pay, at least it provided our local writers with a little honorarium. I sought permission for award-winning pieces of the Palanca Playwriting contest to be fleshed out to reach the masses. The much-awarded playwright Bert Florentino served as our literary manager, assisted by Mauro Avena. Eventually, Isagani Cruz took over when Bert left for the US,” she wrote.
“Writers need exposure and encouragement through a regular TV performance that will give them a sense of achievement and inspire them to keep on writing with some kind of honorarium. I was glad Lupita Aquino (now Kashiwahara) agreed to be TV director and Robert Arevalo as TV host.
She got members of the PETA Kalinangan Ensemble to serve as stage directors. “This is to undertake preliminary preparation with a rehearsal with the actors for character development and memorization and preliminary staging,” she wrote.
Five months after PETA was founded, Balintataw TV premiered on Channel 5 on Aug. 19, 1967, coinciding with the Buwan ng Wika birthdate of President Manuel Luis Quezon.
The first play, whose title escapes her now, featured Armida Siguion-Reyna and Maria Eva “Chingbee” Kalaw. She employed photo journalist and award-winning photographedocumentarist/cinematographer, Romy Vitug, to work with her in filming outdoor scenes for Balintataw.
In the pre-Martial Law Balintataw, among those initiated into television were Lino Brocka, Elwood Perez, Nick Lizaso, Maryo delos Reyes, Mario O’Hara, Joey Gosiengfiao, Behn Cervantes, and Frank Rivera.
Among the stage actors who crossed over to television were Lily Gamboa, Angie Ferro, Lorlie Villanueva, Jonee Gamboa, Joy Soler, Sherry Lara, Gardy Labad, Noel Trinidad.
Like with PETA, Guidote-Alvarez directed and managed Balintataw for five years. Because of Martial Law, she and husband Heherson went on exile in the US to escape a military shoot-to-kill order on Heherson, who was tagged as a subversive.
Post-Martial Law
Internationally acclaimed auteur Lav Diaz mentioned in several interviews how he learned writing radio and TV scripts in Balintataw.
This happened in the late 1980s, when the Alvarez couple returned from exile.
Despite its absence on the air in the Martial Law years, Balintataw was honored by Star Awards as among the 20 unforgettable outstanding broadcast programs in the Philippines.
“This encouraged me to consider reviving Balintataw on TV. Another blessing was a FAMAS award for having an important role in the development of cinema recognizing Balintataw as a bridge for synergizing cinema with the stage, providing a pathway of entry of our PETA artists into film and for movie stars to consider enriching their experience by acting on the legitimate stage,” Guidote-Alvarez wrote.
Though she didn’t return to PETA anymore because it had been surviving well and had its own set of officers led by Brocka, she just tapped some of its members for the return of Balintataw.
For 14 years, the Alvarez couple lived in the US as political exiles, shown here during a Ninoy Aquino Movement meeting. Cecile revived Radyo Balintataw upon their return in the late 1980s.
Channel 4 stint
“I arranged to revive TV Balintataw on Channel 4 in 1989. We began with a drama about a rebel returnee, title escapes me now, but I clearly remember it was written by Lualhati Bautista and directed by Maryo de los Reyes. We also had a good story series on the hazing of Lenny Villa, an Aquila Legis Frat neophyte,” she wrote.
At the time, Heherson had been elected senator after having served as Agrarian Reform Minister and eventually Cabinet Secretary during the first year of the Cory Aquino Administration.
“We were able to unravel the deadly hazing process from a fellow neophyte who broke the code of silence as we revealed graphically, acted the cruel process used. I had Jose Mari Avellana direct it. This presentation won all the awards. Lav Diaz was training with us and he started writing teleplays. We also had Nora Aunor in an adaptation of Bert Florentino’s The World Is An Apple, adapted by Frank Rivera, and I had Nick Lizaso direct.”
Emmy Awards
Balintataw TV was selected as one of five soaps for social change recognized by Emmy Awards. The Philippines was one of five countries cited, with Mexico, India, Brazil and Kenya.
“The nomination was made possible by the wonderful support from David Poindexter. It was a supreme honor for our country to be recognized in the Emmy Awards, to be cited among the five Third World countries using soap opera for social change.”
Poindexter was a Methodist minister and TV producer who founded the Population Communications International.
Surviving on radio
“In spite of the cry about how television can be deadening the minds of the people with copied themes with an eternal favorite love triangle story, there was really no funding for Balintataw,” she wrote.
“Sponsors would go naturally to the commercial stations where big stars were paid highly for the starring role. Balintataw may have substance but we could not afford payment of bankable stars,” she added.
“Financial stress forced me to drop TV and remain on radio because I didn’t want to kill Balintataw per se just because we didn’t have funds.”
Creative classroom
“We have focused on Balintataw as a creative classroom on the air. I was able to talk to Fred J. Elizalde of DZRH and the president of the network, Mr. Jun Nicdao,” she wrote.
In the ‘80s, the HIV/AIDS became a global epidemic and in the Philippines, the general populace was still clueless on how to deal with it.
“In order to get funding, the first series I did was about the explosive news regarding AIDS in Asia. I got the DOH Secretary at the time, Dr. Juan Flavier, to act as himself, providing the data. It was easier to start off with an AIDS radio serial.
They did a minimum of 13 episodes to raise awareness about the disease.
“From then on, some of our television scripts we transformed into a radio version. DZRH provided us with our initial production staff, so we used some from the network and some of its resident artists and drama talents. Our time slots were changing but always coming after the long-running horror drama, Gabi ng Lagim.
“We worked on the themes of overseas workers, the drug problem, corruption, aside from portraying contemporary and literary classics serving as social commentaries,” she wrote.
Women playwrights
“We dramatized the works of noted women writers and playwrights like Estrella Alfon, Genoveva Edroza Matute and Marilou Jacob, who is distinguished in being a founding president of Women’s Playwright International.
“Apart from our PETA staple of writers, we involved young, upcoming and budding university and community theater groups.
“We also had a lot of foreign plays, where we could feature theater festivals beyond borders. We could do Shakespeare, we could do Euripides but also the current playwrights in the Arab region we translated in our language.
“We brought in Chinese contemporary plays, Malaysian, Indonesian and from other women writers from ASEAN member countries.”
Virtual history book
“The significance of Balintataw is portrayed as a virtual history book on audio as it unveiled events in the country. Radio is fresh, instant and up-to date,” she added.
When the COVID-19 pandemic struck, Balintataw became Guidote-Alvarez’s outlet and therapy. Having lost her husband on the second month of the pandemic, a widow cocooned at home, she began hosting it six days a week, learning how to use an iPad and interviewing via Zoom.
The word “Balintataw” has been associated with her name.
Visual artist and editorial cartoonist Benjie Lontoc in casual meeting told us how in his younger days, when AM Radio was a national past-time, he was surprised to hear a Filipino adaptation of No Exit by Jean Paul-Sarte. This was when radio was airing soap, fantasy adventures targeting housewives and children.
Another was the airing of Larawan as a radio play in the 1990s, with Guidote-Alvarez as the voice of Candida Marasigan.
Leopoldo Salcedo (left) as Manolo in a confrontation scene with Dante Rivero as Tony Javier in PETA’s 1968 ‘Larawan’ directed by Cecile Guidote-Alvarez. (Photo from PETA archives)
In the 1960s, she directed Larawan, the first Filipino adaptation of Joaquin’s A Portrait of the Artist as Filipino for PETA’s second season. It ran from December 1968 to January 1969 at the Raha Sulayman Theater at Fort Santiago in Intramural. In the cast were Rita Gomez (Candida), Lolita Rodriguez (Paula), Leopoldo Salcedo (Don Manolo) and Dante Rivero (Tony Javier).
Guidote-Alvarez has a funny recollection of the radio play. It was Nick Joaquin himself who told her years ago how his pedicurist suddenly started a conversation about Larawan.
Joaquin was relaxing on the barber’s chair having a post-haircut pedicure and foot spa when the lady pedicurist asked him how the story would end. Joaquin was stunned because he didn’t want to be known in the barber shop as Nick Joaquin the famous National Artist for Literature, but just a regular customer.
“He told me he almost fell out from the chair. He was a very private person and the pedicurist recognized him as the playwright,” Guidote-Alvarez, laughing, told TheDiarist.ph.
When she was first diagnosed with breast cancer in 2000, she was given only three years to live. It’s been more than two decades since then. She has also conquered COVID-19 twice.
Over and beyond her work in theater and various advocacies, Guidote-Alvarez is among the few surviving practitioners of AM Radio broadcasting.
The beauty salon incident wasn’t a first for the octogenarian radio host. She occasionally went back there to interview guests and record her shows whenever Wi-Fi connections in her home fluctuated.
Despite all setbacks, man-made or otherwise, the steadfast Cecile Guidote-Alvarez’s voice continues to be heard in this mass media platform in an era that knows mainly Spotify. As Joaquin wrote, “to remember and to sing, that is her vocation.”
(Except Saturday, Radyo Balintataw airs daily on DZRH 666 Khz AM radio after ‘Gabi ng Lagim’, and live streamed on radio.org.ph. Some episodes have been uploaded on YouTube.)
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2024.05.21 11:25 The_Way358 Essential Teachings: Understanding the Atonement, the Content of Paul's Gospel Message, and Justification

"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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2024.05.21 11:16 kiwasabi The Metallica Conspiracy: The reason Metallica hasn't made a good album since The Black Album (1991) is because they were all replaced sometime in the early to mid 90's.

The Metallica Conspiracy: The reason Metallica hasn't made a good album since The Black Album (1991) is because they were all replaced sometime in the early to mid 90's.
INTRODUCTION:
While listening to the radio the other day, I had a thought. What if the reason Metallica has sucked since 1996 is because they aren't actually Metallica, but an entirely different band? To me this logically is the only explanation for how Metallica's music changed so drastically and permanently between the release of their self titled album "Metallica" (The Black Album) on August 12, 1991, and their next album "Load" which released June 4, 1996. All of a sudden they changed from being a thrash metal band at their peak to being a mediocre grunge rock Bush wannabe band who cut off their long hair and started wearing eye shadow and earrings.
THE BLACK ALBUM:
https://preview.redd.it/sjhfpgrnlq1d1.jpg?width=640&format=pjpg&auto=webp&s=a11df9d81fab0b2c071112c843752d33e87206ee
The whole theme of Metallica's self titled album (generally referred to as "The Black Album") appears to be "Don't Tread On Me". This is confirmed by the cover image of the album itself. On the bottom right corner is the "Don't Tread On Me" snake from the Gadsden Flag which is a rebel flag first created in 1789. The history of the rattlesnake representing American rebelliousness goes back to 1751 when The Pennsylvania Gazette suggested that since the British kept using the United States as a prison colony by sending us their convicts, that we should pay them back by sending them a "cargo of rattlesnakes". (LINK) Three years later a political cartoon was created which depicted a snake cut into 8 segments with the caption "Join Or Die". Each section of the snake represented a colony and warned of the dangers of disunity. The rattlesnake symbol caught on and became a part of several other Revolutionary War flags. Before the departure of the United States Navy’s first mission in 1775, Continental Colonel Christopher Gadsden from South Carolina presented the newly appointed commander with a yellow rattlesnake flag to serve as a standard for his flagship.
According to this video titled "Don't Tread On Me" Gadsden Flag Symbolism & Meaning (LINK), since the flag was designed for the Navy, the meaning of a yellow Navy flag in 1789 meant "capital punishment on board". Thus the yellow color was meant to be a warning to any other ships who might impose on the independence of the United States colonies. Also mentioned in the video is the fact that the snake consists of 33 sections if you include the head and tail, which could be a reference to the 33 degrees of Freemasonry, or the 33 vertebrae of the Kundalini. Also, I noticed that the snake itself is basically a reversed 666. Finally, the shape of the snake symbol is triangular like an Illuminati All Seeing Eye Pyramid. So there's definitely a lot of hidden meaning behind the "Don't Tread On Me" flag it seems.
Anyway, the lyrical content of The Black Album is full of references to a slave who is oppressed by a cruel master such as "With this whipping boy done wrong" (The Unforgiven) and "Do my dirty work, scapegoat" (Sad But True). The overall theme is about rebelling against this cruel overlord, and there's literally a song called "Don't Tread On Me" with the lyrics repeatedly warning what will happen if the message is not properly heeded. "Enter Sandman" appears to be about Project Monarch Trauma Based Mind Control as well as Satanic Ritual Abuse. When it talks about, "Exit light, enter night. We're off to never never land", it's encouraging the traumatized victim to disassociate from reality by splitting off into a new personality and "going off to never never land" (referring to the fairy tale world of Peter Pan, which is a mind control theme). But the song that seems to put it all right out there what happened to Metallica is "The Unforgiven". The lyrics discuss being born into Project Monarch mind control and "learning their rules" and being "deprived of all his thoughts". Then it talks about how the child swears that they will never take away his (free) will. It then speaks about how he has turned into a bitter man who has tried to please them all. Then finally he decides it's a fight he cannot win and he no longer cares, and the old man prepares to die regretfully, "That old man here is me". This all seems to tell me exactly what happened to the original members of Metallica.
Metallica "The Unforgiven" lyrics (LINK)
New blood joins this earth,
And quickly he's subdued.
Through constant pained disgrace
The young boy learns their rules.
With time the child draws in.
This whipping boy done wrong.
Deprived of all his thoughts
The young man struggles on and on he's known
A vow unto his own,
That never from this day
His will they'll take away.
What I've felt,
What I've known
Never shined through in what I've shown.
Never be.
Never see.
Won't see what might have been.
What I've felt,
What I've known
Never shined through in what I've shown.
Never free.
Never me.
So I dub thee unforgiven.
They dedicate their lives
To running all of his.
He tries to please them all –
This bitter man he is.
Throughout his life the same –
He's battled constantly.
This fight he cannot win –
A tired man they see no longer cares.
The old man then prepares
To die regretfully –
That old man here is me.
JAMES HETFIELD BURNED BY PYROTECHNICS:
"On August 8, 1992, during the performance at Montreal's Olympic Stadium; several songs into Metallica's set, during the song Fade to Black, frontman and rhythm guitarist James Hetfield was accidentally burned by improper pyrotechnics forcing the band to cut their set short as Hetfield was rushed to the hospital." (VIDEO LINK)
I've long had a theory that Michael Jackson was replaced by a new body double in 1984 after his Pepsi commercial pyrotechnics disaster which badly burned him. So I made the connection that when James Hetfield was engulfed in flames in 1992 in Montreal by a pyrotechnics failure, it could have been a very good opportunity to switch him with a replacement. This is only a theory of course and I'm not sure if this was when James Hetfield was actually switched out, but as you'll see in the photo comparisons below, he clearly was replaced at some point (it seems likely it was in 1995 sometime before the recording of the album "Load" which took place May 1, 1995 – February 1, 1996). I also find it a little more than coincidental that Metallica was playing "Fade To Black" when this supposed accident took place.
Metallica "Fade to Black" lyrics (LINK)
Life it seems will fade away
Drifting further every day
Getting lost within myself
Nothing matters, no one else
I have lost the will to live
Simply nothing more to give
There is nothing more for me
Need the end to set me free
Things aren't what they used to be
Missing one inside of me
Deathly lost, this can't be real
Can't stand this hell I feel
Emptiness is filling me
To the point of agony
Growing darkness taking dawn
I was me, but now he's gone
No one but me, can save myself, but it's too late
Now I can't think, think why I should even try
Yesterday seems, as though it never existed
Death greets me warm, now I will just say goodbye (goodbye)
"LOAD" RELEASED JUNE 1996:
Load was released June 4th 1996 and was a major departure from The Black Album. The first track on he album is "Ain't My Bitch" which could be about the new Metallica members disposing of the original lineup. Load in general is a very mediocre grunge rock album that sounds literally nothing like any previous Metallica album. My theory is now that the reason the band all cut their hair and changed their facial hair around this time in their careers was to disguise the fact that they were imposters. As the evidence will show, all 4 original members of Metallica were replaced sometime around 1995 which is why Metallica has never made another good album since 1991: it's because IT'S NOT ACTUALLY METALLICA. Honestly this album is so terrible that I can't listen to it enough to go in depth on my analysis. So I'm just going to say that I find it significant that the first song of the album with Metallica 2.0 is "Ain't My Bitch" which speaks about getting rid of someone who is dragging them down who is so useless, and now it's time to say goodbye. I also find the opening lines extremely significant, "Outta my way. Outta my day. Out of your mind and into mine". This seems to be talking about how a transfer of consciousness is taking place between the old band and into the new members. Of course what this is really referring to is demonic possession.
"Ain't My Bitch" Metallica lyrics (LINK)
Outta my way
Outta my day
Out of your mind and into mine
Into no one
Into not one
Into your step but out of time
Headstrong
What’s wrong?
I’ve already heard this song before
You arrived, but now it’s time to kiss your ass goodbye
Dragging me down
Why you around?
So useless
It ain’t my fall
It ain’t my call
It ain’t my bitch
It ain’t my bitch
Down on the sun
Down and no fun
Down and out, where the hell you been?
Damn it all down
Damn it unbound
Damn it all down to hell again
THE PHOTO EVIDENCE:
The following photo comparisons on the left have photographs from 1994 and earlier, whereas the photos on the right are from 1996 and later. As you can see, all four original members of Metallica were very clearly replaced sometime in the early to mid 90's. There are major changes in the shape of the jaw of all 4 members. The smoking gun evidence is the comparisons which show Kirk Hammett and Lars Ulrich smiling. There's no explanation for why their teeth would have changed completely with five or so years. These are very clearly completely different human beings.
JAMES HETFIELD:
https://preview.redd.it/wg2ad2i3fq1d1.jpg?width=1277&format=pjpg&auto=webp&s=3389ce53ffa99807f87a5059956cd73c1978bd82
https://preview.redd.it/sgbcctl39q1d1.jpg?width=366&format=pjpg&auto=webp&s=e125f9e3a9a66ce07b03672b8fa7f489237f0cc3
https://preview.redd.it/rb1g19ngfq1d1.jpg?width=1426&format=pjpg&auto=webp&s=dab9b3e7d5a693b0fd4b9f763134e17866c7dccb
LARS ULRICH:
https://preview.redd.it/j8qjq5sd9q1d1.jpg?width=905&format=pjpg&auto=webp&s=bd911c749bcbb4fc63976f5f249516595b286957
https://preview.redd.it/5924v5sd9q1d1.jpg?width=339&format=pjpg&auto=webp&s=d86902821831b49a4a0fdd4c1b24bebe72e22ff5
https://preview.redd.it/jnnhd5sd9q1d1.jpg?width=394&format=pjpg&auto=webp&s=6c22b8b9af5b73f3698b31081b03c606054eec9f
https://preview.redd.it/5wv59psd9q1d1.jpg?width=587&format=pjpg&auto=webp&s=a42b249338739a897327a1441a59e74cc9020a09
KIRK HAMMETT:
https://preview.redd.it/vyimilim9q1d1.jpg?width=878&format=pjpg&auto=webp&s=dcf51aa4e09f13a2991eb6a7ea8430ed8d25f6d6
https://preview.redd.it/wopizlim9q1d1.jpg?width=1299&format=pjpg&auto=webp&s=f2369dbdead7640ccae678d7d654d2a230428c2c
https://preview.redd.it/ssero3jm9q1d1.jpg?width=511&format=pjpg&auto=webp&s=9b8d0ab1af6bcdec05440ae8dc1baee0454aff6b
https://preview.redd.it/hds71oim9q1d1.jpg?width=585&format=pjpg&auto=webp&s=e2461767585c6d75e4cd9bc859802775330b0165
https://preview.redd.it/9v4ynmim9q1d1.jpg?width=706&format=pjpg&auto=webp&s=df83f4918764fbedb21e2355f1296ba6918c19e1
https://preview.redd.it/vn5v0mim9q1d1.jpg?width=411&format=pjpg&auto=webp&s=f49fb00141b2f285b98d8dbefa1a639536a55244
JASON NEWSTED:
https://preview.redd.it/phbam2u9aq1d1.jpg?width=759&format=pjpg&auto=webp&s=0f3948c7c1eb1c98c502f126033ce1b102c7783b
https://preview.redd.it/d1ozm2u9aq1d1.jpg?width=558&format=pjpg&auto=webp&s=2093ea2eb00de9a3e67b5ebfdfa48aff12c16455
https://preview.redd.it/48sww2u9aq1d1.jpg?width=1450&format=pjpg&auto=webp&s=a6b2f808a063b55d77ac00bfa3f7df070f456ff4
https://preview.redd.it/5c4u24u9aq1d1.jpg?width=614&format=pjpg&auto=webp&s=cc220daf5d25ebaa05292addaf00a0ff4739d8c6
https://preview.redd.it/9qlld3u9aq1d1.jpg?width=442&format=pjpg&auto=webp&s=bbc35c849d359e1c553edf0a67bd3cd531cb929d
CONCLUSION:
Ever wondered why Metallica seems like a mediocre cover band which is trying (and failing) desperately to sound like it used to? Ever wondered why all four members of Metallica suddenly decided to cut off their iconic heavy metal long hair and started wearing eye shade and earrings? It's because THIS IS NOT METALLICA. The last album that was recorded by the original members of Metallica was The Black Album in 1991. James Hetfield and the other members of Metallica were tired of being "Whipping boys done wrong" who were "deprived of all his thoughts". They decided to tell the Illuminati, "Don't Tread On Me" with their magnum opus "The Black Album", and they unfortunately paid the ultimate price. Notice this line which is a direct reference to The Illuminati and it's All Seeing Eye, "Shining with brightness, always on surveillance. The eyes, they never close, emblem of vigilance". Metallica is literally telling The Illuminati, "Don't Tread On Me".
Don't tread on me
I said, don't tread on me
Liberty or death, what we so proudly hail
Once you provoke her, rattling of her tail
Never begins it, never, but once engaged
Never surrenders, showing the fangs of rage
I said don't tread on me
So be it
Threaten no more
To secure peace is to prepare for war
So be it
Settle the score
Touch me again for the words that you'll hear evermore
Hey
Don't tread on me
Love it or leave it, she with the deadly bite
Quick is the blue tongue, forked as lighting strike
Shining with brightness, always on surveillance
The eyes, they never close, emblem of vigilance
Ooh no, no, no don't tread on me
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2024.05.21 11:14 biswa_roop imagine IF one photo could change your LIFE.

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submitted by biswa_roop to mobilephotography [link] [comments]


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submitted by fjwxbzkqvp_268780 to broil_loop7670146 [link] [comments]


2024.05.21 11:11 kwqzvjpxbf_806878 (COMMENT⬇️) Interracial more Booty Ass plays Bads Ass Ass toy OnlyFans Huge Doggystyle Big Charlibxby Wet Natural your addict

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submitted by kwqzvjpxbf_806878 to melt_orchestrate83116 [link] [comments]


2024.05.21 11:08 Wisetechwords27 How to add images to metafields in shopify

Adding images to Shopify metafields involves creating a metafield definition and then populating that metafield with the desired image URLs.
Here’s a step-by-step guide to help you through the process:
Step 1: Create a Metafield Definition
  1. Navigate to Settings > Metafields.
  2. Select the part of your store where you want to add the metafield (e.g., Products, Variants, Collections, etc.).
  3. Click on 'Add definition.'
  4. Fill out the necessary information:
    • Name: Enter a name for your metafield (e.g., "Custom Image").
    • Namespace and key: Use a namespace and key that makes sense for your store (e.g., "custom_fields.image").
    • Type: Select "File" and then "Image" from the type dropdown menu.
  5. Save

Step 2: Add an Image to the Metafield

  1. Go to the part of your store where you created the metafield definition (e.g., a specific product page).
  2. Scroll down to the Metafields section.
  3. Find your newly created metafield.
  4. Click on the 'Select file' button or drag and drop the image you want to use.
  5. Save the changes on the product or page.

Step 3: Display the Metafield Image in Your Theme

To display the metafield image on your storefront, you'll need to edit your theme's code:
  1. Navigate to Online Store > Themes.
  2. Find the theme you are using and click 'Actions' > 'Edit code'.
  3. Locate the appropriate template file (e.g., product.liquid for product pages).
  4. Add the following Liquid code to display the metafield image:

{% if product.metafields.custom_fields.image %} Custom Image {% endif %} 
Replace custom_fields and image with the namespace and key you used.

Example Scenario

Let's say you created a metafield for products to add a custom promotional image. Here's how you'd implement it:
  1. Create the metafield definition with the namespace custom_fields and key promo_image.
  2. Add an image to the metafield for a specific product.
  3. Edit the product.liquid file to include the following code where you want the image to appear:

{% if product.metafields.custom_fields.promo_image %} Promotional Image {% endif %} 
This code checks if the metafield exists and then displays the image using Shopify's img_url filter to generate the appropriate image URL.
By following these steps, you should be able to add and display images using Shopify metafields effectively. If you encounter any specific issues or have further questions, feel free to ask!
submitted by Wisetechwords27 to u/Wisetechwords27 [link] [comments]


2024.05.21 11:07 magnusarcher Tokyo Denim Haul

Tokyo Denim Haul
-Original post got taken down for low effort-
Back home from our Tokyo trip and was able to pick up a few items despite an itinerary geared towards theme parks and attractions for my kid.
Adding the cost per item as well since someone asked from my origibal post
Oni 288 Crushed Denim:
Got this from Hinoya. I made another post for this with fit pics https://www.reddit.com/rawdenim/s/Nim0DRehB0
Cost: 28,000 Yen (about USD 180) Hemming Cost: 500 Yen
Full Count 1101W:
After initially ordering online at Bears for my SC1947, it was cool to actually go inside their store in Shimokitazawa. Small space compared to Hinoya but wall to wall filled with denim. Its a bit hot inside though. Excited to have my first pair from the Osaka 5 . I will probably make another post once I decide to wear them.
Cost: 27,800 Yen (about 178 USD) Hemming was free of charge
Momotaro 2105sp Type 2 and SJ015 Mechanic Cap:
Finally, went to the flagship Momotaro store in Aoyama for the wife to buy her GTB Type 2 jacket. While waiting for her to fit the jacket and try on a pair of their womens jeans, I tried on the mechanic cap and had to get it. With the first two jeans I already bought, I avoided trying on shirts, jeans, and jackets and just went for the caps on display and the temptation was too much too resist 🤣.
Cost: Type 2 jacket - 35000 Yen (about 224 USD); Mechanic Cap - 6900 Yen (about 44 USD)
All costs indicated are after tax was deducted from SRP.
I wanted to go to the Iron Heart store but it was too far out of our area and itinerary. Maybe next time.
submitted by magnusarcher to rawdenim [link] [comments]


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submitted by vwzbqfjpxk_922184 to melt_strike5813468 [link] [comments]


2024.05.21 10:59 _Triple_ [STORE] 900+ KNIVES/GLOVES/SKINS, 100.000$+ INVENTORY. BFK Lore, Gloves Amphibious, Skeleton Fade, Bowie Emerald, BFK Auto, Gloves MF, Talon Doppler, Gloves POW, Bayo Tiger, Gut Sapphire, Stiletto MF, M9 Ultra, Ursus Doppler, Flip Doppler, M9 Stained, Nomad CW, Paracord CW, AK-47 X-Ray & A Lot More

Everything in my inventory is up for trade. The most valuable items are listed here, the rest you can find in My Inventory

Feel free to Add Me or even better send a Trade Offer. Open for any suggestions: upgrades, downgrades / knives, gloves, skins / stickers, patterns, floats.

All Buyouts are listed in cash value.

KNIVES

★ Butterfly Knife Lore (Factory New), B/O: $7194.77

★ Butterfly Knife Autotronic (Minimal Wear), B/O: $2025.74


★ M9 Bayonet Ultraviolet (Field-Tested), B/O: $557.87

★ M9 Bayonet Stained (Well-Worn), B/O: $529.41

★ M9 Bayonet Boreal Forest (Field-Tested), B/O: $465.39


★ Talon Knife Doppler (Factory New), B/O: $1295.27

★ Bayonet Tiger Tooth (Minimal Wear), B/O: $746.28

★ Karambit Bright Water (Field-Tested), B/O: $688.15


★ Flip Knife Doppler (Factory New), B/O: $547.93

★ Flip Knife Autotronic (Minimal Wear), B/O: $476.69

★ Flip Knife Case Hardened (Battle-Scarred), B/O: $278.18

★ Flip Knife Black Laminate (Well-Worn), B/O: $258.83

★ Flip Knife Urban Masked (Field-Tested), B/O: $181.64


★ Stiletto Knife Marble Fade (Factory New), B/O: $686.04

★ Stiletto Knife Doppler (Factory New), B/O: $665.41

★ Stiletto Knife, B/O: $601.39

★ Stiletto Knife Crimson Web (Field-Tested), B/O: $418.25

★ Stiletto Knife Night Stripe (Field-Tested), B/O: $227.80

★ Stiletto Knife Boreal Forest (Field-Tested), B/O: $194.96

★ Stiletto Knife Safari Mesh (Field-Tested), B/O: $192.79


★ Nomad Knife Crimson Web (Field-Tested), B/O: $518.11

★ Nomad Knife Scorched (Field-Tested), B/O: $169.78

★ Nomad Knife Forest DDPAT (Battle-Scarred), B/O: $166.88

★ StatTrak™ Nomad Knife Blue Steel (Field-Tested), B/O: $335.79


★ Skeleton Knife Stained (Well-Worn), B/O: $442.05

★ Skeleton Knife Urban Masked (Minimal Wear), B/O: $426.24

★ Skeleton Knife Boreal Forest (Field-Tested), B/O: $314.03

★ StatTrak™ Skeleton Knife Fade (Minimal Wear), B/O: $2361.28

★ StatTrak™ Skeleton Knife Urban Masked (Field-Tested), B/O: $376.53


★ Ursus Knife Doppler (Factory New), B/O: $557.12

★ Ursus Knife, B/O: $471.42

★ Ursus Knife Blue Steel (Minimal Wear), B/O: $212.37

★ Ursus Knife Case Hardened (Battle-Scarred), B/O: $187.66

★ Ursus Knife Damascus Steel (Field-Tested), B/O: $178.18

★ Ursus Knife Ultraviolet (Battle-Scarred), B/O: $155.13

★ Ursus Knife Boreal Forest (Battle-Scarred), B/O: $124.26


★ Huntsman Knife Black Laminate (Minimal Wear), B/O: $204.83

★ Huntsman Knife Black Laminate (Field-Tested), B/O: $184.50

★ StatTrak™ Huntsman Knife Lore (Battle-Scarred), B/O: $224.11


★ Bowie Knife Gamma Doppler (Factory New), B/O: $2142.02

★ Bowie Knife, B/O: $230.44

★ Bowie Knife Damascus Steel (Factory New), B/O: $209.20

★ Bowie Knife Ultraviolet (Minimal Wear), B/O: $180.51

★ Bowie Knife Ultraviolet (Field-Tested), B/O: $131.03


★ Falchion Knife Night (Field-Tested), B/O: $132.54

★ Falchion Knife Urban Masked (Well-Worn), B/O: $112.81

★ Falchion Knife Scorched (Field-Tested), B/O: $108.81

★ Falchion Knife Forest DDPAT (Field-Tested), B/O: $107.82

★ Falchion Knife Safari Mesh (Field-Tested), B/O: $107.46

★ StatTrak™ Falchion Knife Ultraviolet (Field-Tested), B/O: $143.08


★ Paracord Knife Crimson Web (Minimal Wear), B/O: $486.48

★ Paracord Knife Blue Steel (Battle-Scarred), B/O: $163.12


★ Survival Knife Blue Steel (Battle-Scarred), B/O: $138.26

★ Survival Knife Night Stripe (Field-Tested), B/O: $131.03


★ Gut Knife Sapphire (Minimal Wear), B/O: $1127.79

★ Gut Knife Gamma Doppler (Factory New), B/O: $286.17

★ Gut Knife Doppler (Factory New), B/O: $246.55

★ Gut Knife Marble Fade (Factory New), B/O: $240.77

★ Gut Knife, B/O: $210.49

★ Gut Knife Lore (Field-Tested), B/O: $194.22

★ Gut Knife Case Hardened (Battle-Scarred), B/O: $151.51

★ Gut Knife Blue Steel (Minimal Wear), B/O: $124.94

★ Gut Knife Rust Coat (Well-Worn), B/O: $118.99

★ Gut Knife Boreal Forest (Minimal Wear), B/O: $109.80

★ StatTrak™ Gut Knife Doppler (Factory New), B/O: $237.96


★ Shadow Daggers Gamma Doppler (Factory New), B/O: $264.92

★ Shadow Daggers Marble Fade (Factory New), B/O: $253.03

★ Shadow Daggers Tiger Tooth (Factory New), B/O: $237.22

★ Shadow Daggers Crimson Web (Field-Tested), B/O: $153.40

★ Shadow Daggers Autotronic (Minimal Wear), B/O: $144.42

★ Shadow Daggers Blue Steel (Field-Tested), B/O: $105.20

★ StatTrak™ Shadow Daggers Damascus Steel (Minimal Wear), B/O: $150.46


★ Navaja Knife Fade (Factory New), B/O: $365.99

★ Navaja Knife Doppler (Factory New), B/O: $228.93

★ Navaja Knife Marble Fade (Factory New), B/O: $227.43

★ Navaja Knife Slaughter (Factory New), B/O: $209.06

★ Navaja Knife, B/O: $203.16

★ Navaja Knife Case Hardened (Well-Worn), B/O: $132.57

★ Navaja Knife Damascus Steel (Factory New), B/O: $121.69

★ Navaja Knife Damascus Steel (Minimal Wear), B/O: $109.95

★ Navaja Knife Damascus Steel (Field-Tested), B/O: $100.41

★ StatTrak™ Navaja Knife Fade (Factory New), B/O: $369.01

★ StatTrak™ Navaja Knife Damascus Steel (Field-Tested), B/O: $109.95

GLOVES

★ Sport Gloves Amphibious (Minimal Wear), B/O: $2394.67

★ Sport Gloves Omega (Well-Worn), B/O: $572.33

★ Sport Gloves Bronze Morph (Minimal Wear), B/O: $338.88

★ Sport Gloves Big Game (Field-Tested), B/O: $323.66


★ Specialist Gloves Marble Fade (Minimal Wear), B/O: $1652.07

★ Specialist Gloves Tiger Strike (Field-Tested), B/O: $599.14

★ Specialist Gloves Crimson Web (Well-Worn), B/O: $231.57

★ Specialist Gloves Buckshot (Minimal Wear), B/O: $126.21


★ Moto Gloves POW! (Minimal Wear), B/O: $996.99

★ Moto Gloves POW! (Field-Tested), B/O: $383.31

★ Moto Gloves POW! (Well-Worn), B/O: $276.00

★ Moto Gloves Turtle (Field-Tested), B/O: $180.28


★ Hand Wraps CAUTION! (Minimal Wear), B/O: $502.29

★ Hand Wraps Giraffe (Minimal Wear), B/O: $180.73

★ Hand Wraps CAUTION! (Battle-Scarred), B/O: $178.32


★ Driver Gloves Queen Jaguar (Minimal Wear), B/O: $181.01

★ Driver Gloves Rezan the Red (Field-Tested), B/O: $101.66


★ Broken Fang Gloves Jade (Field-Tested), B/O: $127.88

★ Broken Fang Gloves Needle Point (Minimal Wear), B/O: $124.55


★ Bloodhound Gloves Guerrilla (Minimal Wear), B/O: $127.94

★ Hydra Gloves Case Hardened (Field-Tested), B/O: $102.55

WEAPONS

AK-47 X-Ray (Well-Worn), B/O: $478.95

AUG Hot Rod (Factory New), B/O: $425.83

StatTrak™ M4A1-S Hyper Beast (Factory New), B/O: $413.95

M4A4 Daybreak (Factory New), B/O: $309.51

StatTrak™ AK-47 Aquamarine Revenge (Factory New), B/O: $305.43

AK-47 Case Hardened (Well-Worn), B/O: $196.38

StatTrak™ M4A4 Temukau (Minimal Wear), B/O: $174.64

P90 Run and Hide (Field-Tested), B/O: $167.03

AWP Asiimov (Field-Tested), B/O: $153.33

Souvenir SSG 08 Death Strike (Minimal Wear), B/O: $140.00

M4A1-S Printstream (Battle-Scarred), B/O: $124.70

StatTrak™ M4A1-S Golden Coil (Field-Tested), B/O: $117.48

AWP Asiimov (Well-Worn), B/O: $115.97

StatTrak™ Desert Eagle Printstream (Minimal Wear), B/O: $112.96

StatTrak™ AK-47 Asiimov (Minimal Wear), B/O: $110.85

Souvenir M4A1-S Master Piece (Well-Worn), B/O: $102.42

AK-47 Bloodsport (Minimal Wear), B/O: $100.53

Trade Offer Link - Steam Profile Link - My Inventory

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P90 (ScaraB Rush, Neoqueen, Astral Jörmungandr, Run and Hide, Emerald Dragon, Cold Blooded, Death by Kitty, Baroque Red, Vent Rush, Blind Spot, Asiimov, Trigon, Sunset Lily, Death Grip, Leather, Nostalgia, Fallout Warning, Tiger Pit, Schermatic, Virus, Shapewood, Glacier Mesh, Shallow Grave, Chopper, Desert Warfare), MAC-10 (Sakkaku, Hot Snakes, Copper Borre, Red Filigree, Gold Brick, Graven, Case Hardened, Stalker, Amber Fade, Neon Rider, Tatter, Curse, Propaganda, Nuclear Garden, Disco Tech, Toybox, Heat, Indigo), UMP-45 (Wild Child, Fade, Blaze, Day Lily, Minotaur's Labyrinth, Crime Scene, Caramel, Bone Pile, Momentum, Primal Saber), MP7 (Teal Blossom, Fade, Nemesis, Whiteout, Asterion, Bloosport, Abyssal Apparition, Full Stop, Special Delivery, Neon Ply, Asterion, Ocean Foam, Powercore, Scorched, Impire), PP-Bizon (Modern Hunter, Rust Coat, Forest Leaves, Antique, High Roller, Blue Streak, Seabird, Judgement of Anubis, Bamboo Print, Embargo, Chemical Green, Coblat Halftone, Fuel Rod, Photic Zone, Irradiated Alert, Carbon Fiber), MP9 (Featherweight, Wild Lily, Pandora's Box, Stained Glass, Bulldozer, Dark Age, Hot Rod, Hypnotic, Hydra, Rose Iron, Music Box, Setting Sun, Food Chain, Airlock, Mount Fuji, Starlight Protector, Ruby Poison Dart, Deadly Poison), MP5-SD (Liquidation, Oxide Oasis, Phosphor, Nitro, Agent, Autumn Twilly), Shotguns, Machineguns - Sawed-Off (Kiss♥Love, First Class, Orange DDPAT, Rust Coat, The Kraken, Devourer, Mosaico, Wasteland Princess, Bamboo Shadow, Copper, Serenity, Limelight, Apocalypto), XM1014 (Frost Borre, Ancient Lore, Red Leather, Elegant Vines, Banana Leaf, Jungle, Urban Perforated, Grassland, Blaze Orange, Heaven Guard, VariCamo Blue, Entombed, XOXO, Seasons, Tranquility, Bone Machine, Incinegator, Teclu Burner, Black Tie, Zombie Offensive, Watchdog), Nova (Sobek's Bite, Baroque Orange, Hyper Beast, Green Apple, Antique, Modern Hunter, Walnut, Forest Leaves, Graphite, Blaze Orange, Rising Skull, Tempest, Bloomstick, Interlock, Quick Sand, Moon in Libra, Clean Polymer, Red Quartz, Toy Soldier), MAG-7 (Copper Coated, Insomnia, Cinqueda, Counter Terrace, Prism Terrace, Memento, Chainmail, Hazard, Justice, Bulldozer, Silver, Core Breach, Firestarter, Praetorian, Heat, Hard Water, Monster Call, BI83 Spectrum, SWAG-7), M249 (Humidor, Shipping Forecast, Blizzard Marbleized, Downtown, Jungle DDPAT, Nebula Crusader, Impact Drill, Emerald Poison Dart), Negev (Mjölnir, Anodized Navy, Palm, Power Loader, Bratatat, CaliCamo, Phoenix Stencil, Infrastructure, Boroque Sand), Wear - Factory New (FN), Minimal Wear (MW), Field-Tested (FT), Well-Worn (WW), Battle-Scarred (BS), Stickers Holo/Foil/Gold - Katowice 2014, Krakow 2017, Howling Dawn, Katowice 2015, Crown, London 2018, Cologne 2014, Boston 2018, Atlanta 2017, Cluj-Napoca 2015, DreamHack 2014, King on the Field, Harp of War, Winged Difuser, Cologne 2016, Cologne 2015, MLG Columbus 2016, Katowice 2019, Berlin 2019, RMR 2020, Stockholm 2021, Antwerp 2022, Paris 2023, Swag Foil, Flammable foil, Others - Souvenirs, Agents, Pins, Passes, Gifts, Music Kits, Cases, Keys, Capsules, Packages, Patches

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submitted by _Triple_ to GlobalOffensiveTrade [link] [comments]


2024.05.21 10:46 qwfxbzpkjv_450818 (COMMENT⬇️) Dick fantasy Furries slut Dragons and MILF your Deepthroat Big videos Tits OnlyFans Ass and Tattoos Full OnlyFans

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submitted by qwfxbzpkjv_450818 to swelter_fiddle6961750 [link] [comments]


2024.05.21 10:13 loyalandbitter Lf 2 50/50 partners

Lf 2 50/50 partners
Must show proof of dice and batteries
submitted by loyalandbitter to MonopolyGoTrading [link] [comments]


2024.05.21 09:56 noctoutcold I honestly think Luna and Noct should've had a familial relationship instead

This is just my opinion and you're free to disagree or discuss further in the replies because I'm kinda just venting my thoughts, but I personally believe that the story of FFXV would've been a bit more coherent if LuNoct was a familial relationship and I'll explain why. I mainly say this because due to the game's emphasis on brotherhood, fatheson bonding, familial ties, etc., Luna and Noct's bond inevitably got pushed to the background, mainly with how Luna's character as a whole had so little screen time.
The fact that there's such a large amount of people who came to the consensus that Luna and Noct's relationship was poorly written, or that they were never even attracted to each other in the first place, kind of cements that regardless of whether or not LuNoct is "canon" isn't the issue, it's that its overall reception by players was below average at best because honestly, Luna and Noct...barely talk.
Normally, I'm okay with love stories in Final Fantasy games because they're generally well executed, but FFXV specifically is probably the one Final Fantasy game that I genuinely believe shouldn't have had any romance at all, because the relationship Noct has with Prompto, Ignis, Gladio, and Regis (and the overall theme of "family") is obviously meant to have more impact on the player and serve more importance to the story by comparison. But something that made me start considering a hypothetical solution with how many consider the romance shoehorned/unnecessary/etc., is specifically the scene where Luna dies.
In a vast majority of the scene, Noct is presented as his childhood self, while Luna transforms into her adult self fairly quickly and they remain that way until Noct blips into an adult at the very end. Contrary to what some people believe, Luna and Noct's physical states in Luna's death scene isn't actually meant to be a metaphorical representation of their maturity levels/mental states, but very, very literal. This is because in Japanese, young Noct in that cutscene uses the pronoun 僕 (boku), a pronoun mainly used by young boys, instead of 俺 (ore), the more masculine and rough pronoun used by adult Noct. Basically, throughout almost the entire cutscene Luna is speaking to an actual small boy, not a man merely in the image of a child.
When I remember that their relationship is meant to be romantic when presented with the image of the literal adult Luna speaking so fondly to the literal child Noct, it comes off as a very odd writing choice to me that could have some problematic implications. But I feel like a way to ease the discomfort of that scene's implication is if Luna and Noct's relationship was changed from romantic, to familial.
Here's my reasoning behind that.
There's barely any mention of her in-universe so I don't really blame anyone for forgetting her character exists, but the game briefly touches on the fact that Noctis's mother, Aulea, died when he was so young that he doesn't even remember her at all. IIRC, he was still a baby at the time. Regis was unfortunately too occupied with his duties as king to truly be there for Noct as a father, and although he had Ignis and Gladio, and later Prompto to ease the pain of his father's absence, Noct had nobody to fill in that familial gap that his mother left behind. Luna is important in that sense because she's his first source of guidance and warmth that isn't a boy, but an older girl.
(And as a side note: No, just because Ignis is a man that happens to cook, look after Noct, etc., doesn't make him Noct's "mother". A caretaker, yes, but the FFXV fandom's insistence on using the term "mom" to describe Ignis's role to Noct is honestly really irritating and overdone at this rate, not to mention it perpetuates a very outdated view on sewing, cooking, caretaking, etc. being "a mother's job". Ignis is not a "mother", that is a grown man with a cock and balls.)
Even more than the fact that their marriage is repeatedly mentioned to be arranged by King Regis and Emperor Aldercapt and solely meant to serve as a symbol of Lucis and Niflheim's armistice, Luna's emphasis on watching over (Or "protecting", if you translate the Japanese version literally.) Noct, and even more than Luna's fondness for looking back on her childhood with Noct and yearning for those days of innocence, I feel like it's Luna's actual role as Oracle that gives the most support to my opinion that making their relationship romantic wasn't necessarily a good decision. As Oracle, Luna's duty is to be a guiding force for Noctis to help him on his journey, from teaching him all about his destiny when they are children, to paving the way for Noct to forge covenants with the Astrals when they are adults. Despite her mentioning "I do not seek to guide him, merely to stand beside him." in one cutscene, it doesn't change that her very birthright is intrinsically tied to being a guiding force for Noct. The way the bros react after Luna's death prove this: Without Luna, they are borderline aimless.
All of this honestly would've felt more understandable if Noct and Luna's sentiments towards one another were meant in a familial context, like perhaps a mother-figure to her son-figure, thus filling the gap that Aulea's death had left behind and tying in better with FFXV's theme of "familial bonds".
In that sense, Luna's role as Oracle would be less like an overly selfless, obedient, and devoted girlfriend endlessly breaking her back to support her wayward, immature boyfriend, while never questioning this relationship dynamic or even getting anything in return, until she ultimately dies, and more like a mother-figure wanting to guide her child-figure into fulfilling his destiny/reaching adulthood with what little time she has left, since canonically the covenants are shown to be slowly killing her regardless and she would've died soon anyway, with or without Ardyn stabbing her. And her death scene in particular would then come off less like an 8 year old boy is losing his 24 year old crush (...That alone feels even more bizarre of a concept now that I had just typed it out.), and more like a small child being orphaned, losing his one remaining source of familial guidance and security after his beloved father had passed.
I think that small bit of tweaking to their relationship would've resonated more with players overall, and would also prove that stories don't always need to include a romance. But as I said at the beginning of this post, this is just my own personal thoughts and my reasoning behind them. Whether you agree or not, I'd love to hear what y'all think.
submitted by noctoutcold to FFXV [link] [comments]


2024.05.21 09:49 codnamercy Made a trap beat of cup of libertea

Made a trap beat of cup of libertea
The main theme song. I thought it would be cool. Come check it out. Feel free to use it guys!
submitted by codnamercy to Helldivers [link] [comments]


2024.05.21 09:39 Low_Blacksmith_3230 Things To Do In Vienna

Things To Do In Vienna
https://preview.redd.it/0qjnlbxyfq1d1.jpg?width=4080&format=pjpg&auto=webp&s=d5272a961ed56c9a83193c902305a43528e892dd
Vienna, the elegant capital of Austria, is brimming with cultural treasures and architectural wonders. Embark on a journey through the timeless charm and cultural riches of our exclusive Europe tour package. Explore iconic landmarks like the Eiffel Tower in Paris, the Colosseum in Rome, and the historic streets of Prague. Here are some things you might enjoy doing while you're there:
  1. Schönbrunn Palace: Explore this magnificent Baroque palace, once the summer residence of the Habsburg monarchs. Wander through the lavish rooms, stroll in the vast gardens, and visit the world's oldest zoo, located on the palace grounds.
  2. Stephansdom (St. Stephen's Cathedral): Marvel at the stunning Gothic architecture of Vienna's most iconic landmark. Climb the South Tower for panoramic views of the city.
  3. Belvedere Palace: Admire the impressive Baroque architecture and world-class art collection at this historic palace complex. Don't miss the chance to see Gustav Klimt's masterpiece, "The Kiss."
  4. Vienna State Opera: Experience the magic of opera at one of the world's leading opera houses. Attend a performance or take a guided tour to learn about its rich history and backstage secrets.
  5. MuseumsQuartier: Discover a wealth of cultural institutions in this vibrant arts complex, including the Leopold Museum, the Museum of Modern Art (MUMOK), and the Kunsthalle Wien.
  6. Hofburg Palace: Visit the former imperial residence of the Habsburgs, which now houses several museums, including the Sisi Museum, dedicated to Empress Elisabeth.
  7. Vienna's Ringstrasse: Take a leisurely stroll or a guided tram tour along this grand boulevard, lined with magnificent buildings, parks, and monuments.
  8. Naschmarkt: Explore Vienna's largest and most popular market, where you can sample local delicacies, shop for fresh produce, and browse stalls selling antiques and crafts.
  9. Prater Park: Have fun at this historic amusement park, home to the iconic Giant Ferris Wheel (Riesenrad) and a variety of rides and attractions for all ages.
  10. Vienna Woods (Wienerwald): Escape the city and enjoy nature in this scenic forested area, just a short drive or train ride from the city center. Hike, cycle, or simply relax amidst tranquil surroundings.
  11. Viennese Coffeehouses: Experience the Viennese café culture at one of the city's legendary coffeehouses, where you can savor delicious pastries and specialty coffees while soaking in the atmosphere.
  12. Danube River Cruise: Enjoy a leisurely boat ride along the Danube River, offering panoramic views of the city's skyline and landmarks.
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submitted by Low_Blacksmith_3230 to u/Low_Blacksmith_3230 [link] [comments]


2024.05.21 09:39 iUsuallyDoStuff How do you deal with shame/eat your pride after failing to follow through 2 times(26/M)

I was a electrical engineering student. Somewhere along the way I lost interest(if there ever was any) and just before doing the final paper(diploma) I quit. I didn't like "log out" of the university.. i just didn't write it.
I had decent grades (9.0/10), I felt like I can become something ..someone. but my interest kept on changing and .. failing. Already in first year I found out how much of a mistake this college was because I like creative stuff more, I like languages, art.. video games.. Instead of changing universities I stayed.. with my friends and my interest was getting smaller and smaller. I tried brute forcing it. "Let's try all the labs and surely one of them will be my calling". Tried a robotics project, made some progress, but failed when it got super hard, It felt difficult asking for help when every1 seemed busy. Went into biomed tech lab, learned stuff, but I aimed to high(I was reading phd docs), so I got scared and quit, same happened with 2 more labs. At that point I hated electrical engineering.
When it came to the final paper time(also during covid) I had trouble deciding on the theme of the paper. Everything seemed too difficult(probably also because of my previous failures in labs.. I felt like I learned nothing of value, nothing that can be used, so I also dreaded college even more.) I finally found a theme unrelated with anything electrical.. got it approved. Then covid hit and the whole thing got put on hold.. nobody asked questions. After 6 months-ish I had to go back and beg them to help me, "I wanna do this, let's do this, I promise I'll make it work, I'm dedicated, look at my grades, I wont dissapoint". I got them to approve, but I wrote nothing. Why? I think because of the dilemma in my head. THe only reason I'd do this is to shut up my parents who paid for it(college was free but they paid for my living expenses at the campus). I felt/knew I owe it to them, but the other part said "this is useless, I hate this field anyway, I learned nothing, why even finish it if it brings no value, so I didn't write it
Then few months later I got notice that this is my last chance to write it for free(otherwise it is a few hundred bucks). Ofc I got motivate(or scared?), I beg proffesor again, he approves, gives me material. Basocally how I got him to agree; I made research, I bookmarked around 300 articles/diplomas/papers on my paper thesis and then he saw my "dedication" and agreed.
But again my mind overpowered me with the same thoughts. "this is useless, I hate this field anyway, I want to work in something else".. And I failed to follow through
If you read this far.. apologies for the length.
Basically now I'm 2 years into a dead-end factory job that I hate. Manual labour, dust, noise, micromanaging boss, working saturdays, 3 shifts, glue, itch, and as I get so depressed here I can't help but think "what can I do to make it better". I still don't have any wish to work in electrical engineering field but my peers&mom say "a degree is still a degree"... So a tiny part of me thinks that maybe finishing this would somehow help me with getting a job, even an unrelated one.. Even though I'm more interested in video games/languages/helping people I sometimes wonder(usually at work.. xdd) what if I finish that degree.. maybe I can get a better job.
So then the question would be; How do I eat my pride/not be so ashamed to ask the proffesor for the 3rd time.
I'm not sure I actually want to finish it.. but I do want to make my situation better.
A bit more info: In elementary my best friends decided to go into a vocational school for electrotechnicians, and as I was a huge video game addict, introverted, I feared going to some school where my friends wouldn't be, and I made my self believe I don't like studying so I didn't go with.. smarter friends to an actual high school(one that would open a lot more doors at this point). So I went to that vocational school, passed it with "golden matura", basically a reward you get if you get like all the points on the finals... I was told I'm gifted all my life so ofcourse college is the next step. At this point I was still(And I still am) a video game addict and introverted so... my other interests were put on hold again. No architecture, no sailing stuff .. no.. electrical engineering college where my friends will once again be.
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2024.05.21 09:30 Xbox-Moderator Senua's Saga: Hellblade II - Review Thread

Senua's Saga: Hellblade II - Review Thread
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Game Title: Senua's Saga: Hellblade II
Platforms:
  • Xbox Series X/S (May 21, 2024)
  • PC (May 21, 2024)
Trailers:
Developer: Ninja Theory
Publisher: Xbox Game Studios
Review Aggregator:
OpenCritic - 83 average - 85% recommended - 65 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.
Eurogamer - Johnny Chiodini - 5 / 5
Hellblade 2 continues Senua's story with grace, confidence, surprising brutality and thundering conviction.
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.
Game Rant - Anthony Taormina - 4 / 5
There is simply nothing else like Hellblade 2 on the market and that alone kept me enthralled the whole way through. Its pared-down elements might not be mechanically complex, but they give the story a momentum that makes it hard to put down. Ninja Theory tackles themes that are challenging and not often seen in games, with a backdrop that vacillates between the epic and the intimate. It's approach doesn't have widespread appeal, but Senua’s Saga: Hellblade 2 is as close to an interactive movie as we’ve seen yet.
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.
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
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.
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.
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.
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.
Windows Central - Zachary Boddy - 4.5 / 5
A game like Senua's Saga: Hellblade II can only be the result of years of passion and talent, captivating you with its unbelievable visuals, impeccable audio design, and powerful thought-provoking narrative. It's a veritable masterpiece, but it's just shy of perfection thanks to an average PC port and some minor criticisms.
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”?
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