I apologize in advance for the length of this thread, but by far this is the user that wrote the most comments in the video of our song. At first, he suggested Scepter and Reign, but he debunked this lead by saying: "Scepter and Reign can be crossed off. I have been corresponding with the lady whose name is mentioned in the legal document, Naomi (first name used with her permission, and only her first name) since Thursday. She was legitimately shocked her name was on the document because in all these years NOBODY ever contacted her regarding it. She thinks they may have realized how much money it would cost and probably withdrew. She knew both bands fairly well, scale of 1-10 she answered "6.5 maybe 7'ish". She designed 1 "logo" for each band that was literally just a sketch she made with their band names on them she could print out in the Xerox store she worked at. Scepter's original name was actually "Dungeon Master" but they changed it to fit their name on her design. As for the abandoned demo from Scepter, she said they abandoned it because they couldn't afford to produce it. They didn't even make it far enough to name their 3 or 4 songs. So, on to the big question, are either bands involved with this song? According to her both bands came out in 1985, and according to her this "The Falling King" song predates both bands by a year or 2. This is not Scepter or Reign, this song is older than both bands. According to her, she first heard this song on a Detroit station while visiting family. Even back then, the Detroit station personnel had absolutely NO CLUE who this was. She remembers her father making fun of the singers accent claiming it was a "Posh" accent and also used to think the lyric was "The fall, the fall in the king" lol. I explained how this song was recorded off of several stations in 1987 and she replied "How many songs do you hear on the radio that are several years old?". She was stumped this was played on Z-Rock because this does not sound like an amateur band to her. She is not the only person to make comments that this does not sound like an amateur band, this sounds professionally recorded and produced, something EXTREMELY few amateugarage bands could have done. I thought i had something, but at least i tried. By the way, apparently Reign still performs in the Pittsburgh area under the name "Metallic Thunder"." (THIS IS HIS LATEST COMMENT) If this is true, it means our search will be even more difficult.
In one of his earliest comments he said this: "My 2 oldest sisters (born in 1970 and 1972) actually remember this song being played by garage bands and local talents in the Coatesville PA area. However, they both swear on mom and dads ashes that the first time they heard this song, a local music festival in Exton PA, I was NOT born yet (I was born in 1984). Even back then nobody could say who it was or what the title was. In fact the one band from Downingtown PA used to refer to it as "The Dungeons and Dragons song". And by that i mean, according to my sisters the lead singers girlfriend (or his sister....they could never tell?) would be in the crowd and when they were ready to end their performance she would shout "Play the Dungeons and Dragons song". My sisters also remember the adults thinking this song was somehow a promotional thing for the PA Renaissance Fair. Unfortunately they cannot offer any clues to the identity of this band or songs title, their guess, back then and still today, was Manowar."
At first, he claims our band is Manowar, explaining: "I do not think Manowar is an obscure band, nor do my sisters. The "obscure" bands mentioned in my postings are all the local garage/amateur bands that they remember playing this song and most of those garage/amateur bands even back then, along with my sisters, were under the impression this was a Manowar song. Many people, not just on this post but others feel this is Manowar "pitch" song, other bands thrown around have been Iron Maiden, Overdrive (Or Overkill, i'm not sure if it's the same band?), Blackmane, Axis and Cirith Ungol (spelling?). Keep this in mind, it's not that uncommon for mainstream/well known bands to have unreleased music in their "library". A good example, ask the most diehard Rammstein fans what their first song ever was, they'll probably answer Du Recht So Gut or Rammstein. Most people have never heard their 1992-1993 pitch song, "Tier" (Monster, beast). In fact, Till Linderman himself stated in 2018 he was unaware Tier was ever recorded by anyone, yet alone put up on the internet. Like this "Fall of the King" song, "Tier" was toted as an mystery song for years but was in a group of 4 or 5 other songs that Rammstein did but never released. One of my favorite bands, Corvus Corax, actually had something similar happen, a song they did back in the early 90's, "Vampire", opening for another band was recorded by a fan in the audience and made rounds on the Neo Folk community ages later. Corvus Corax themselves heard it on a radio station in Denmark roughly 2009'ish and called them asking how and when they got that song because they NEVER recorded it for public use. Personally i cannot give a wager who this is? I am not that good with this genre so i go with what people older than me and much better with this music say. To me it could be Manowar, something they never intended to be released publicly, it could be the Z'Rose a bunch of people feel it is, it could be Overdrive/Overkill (i do not know if these names are the same band or 2 separate ones?), it could be me time traveling impersonating my great uncle Fred......ok that last one was just meant to be a joke lol." Then someone says: "has your sister contacted erik to see about the the song?" and he says "OH HELL NO!!! They haven't spoken since they broke up in 1991-1992. I did reach out to his brother probably a year ago and never heard back."
He suggests it's either Manowar or Sarissa (he mispelled them): "@aSome1 There's some confusion, my sisters never said Z'Rose was playing the song in our hometown area. Local teenage to early college yrs bands were playing it. They recognized this song when I was on a family Zoom chat, i had this song on in the background (by accident actually lol) and my oldest sister (#1 born in '70) asked what i was listening to. I turned it up and she shook her head and asked the other sister (#2 born in '72) "Oh my gosh isn't that that stupid Manowar song Erik and his brother used to play all the time?". Erik was the name of her high school boyfriend. They remember hearing it first at an amateur music fest when my brother (born in '82) was still a baby. Mainly they remember mom fitting all of them in her old "Batmobile" station wagon. By the time i was born in '84 that station wagon was gone for at least several months. The band names they specifically remember playing this, and keep in mind these were "Garage bands" from the 80's were: Venomous Vomit, Razors in your Coffee (Erik's band), Ash to Ash, Cauldron Kings, Coven of Metal, Pridesville, South of Hell and Purgatory. They said there were a few more, but didn't remember....or care....to know their names. (Disclaimer: Several peoples associated with those mentioned bands have been contacted by me and several have replied.....the most common reply is "How the hell do you know us!?" lol)
"I have actually been looking at this song for almost 3yrs. I've had some "good leads" and some "bad leads" and i've also had "WTF leads".......but at the end it is still unsolved. So far the biggest contenders, from people way better with this music than me (I'm more a symphonic or extreme metal person) have been: Manowar, Iron Maiden, OverDrive, Overkill, Onslaught of Destruction and Sonic Mahem. My sisters really believe it is possibly an unreleased or "pitch demo" of Manowar but they also said it might be a Greek band from the early 80's called Sarassa or something like that?"
Then he denies it's Z-Rose: "@lostwavefinder587 I have seen that name tossed around a lot on forums and random chats (this being one of them). Most people way smarter and better with this music than myself seem to have the opinion that it is not Z'Rose. They range in reason from: the equipment sound professional and they were not, the dates don't add up, Z'Rose only did covers so even it is them in the recordings it's still not their song.....one individual (a supervisor at work who lived in Texas during this time frame) actually said "Z'Rose wouldn't have been sober enough to finish that song". I have only heard 1 Z'Rose recording, and unfortunately the person who recorded it (I think the date says 1989?) spends the majority of the 5 minute video talking during the performance so all i hear is them and not the singer. I have to emphasize about %99 of this info i'm presenting is NOT from me but people who know this genre of music way better than me....i'm more Symphonic metal and neo folk (Corvus Corax, Heilung, Faun etc."
"Out of curiosity, since a lot people think this might be Z'Rose, has anyone contacted the family/families of Nick or Joe Cavazos? My "team" is looking into a blog page from 2018 of a pretty intense exchange between a blogger and a woman who is believed to be "Rocker Joe's daughter. In this exchange she states this song is NOT her dad and uncle's band. But it gets pretty rough because the blogger keeps pressing and let's just say some NSFW language is exchanged. I will only say this, the woman's name does match one of the names in Julio "Joe" Cavazos obituary, but they can't tell if it is actually HER or someone posing. I also find it interesting that in another posting of this song someone is claiming to be the nephew of both Nick and Joe.....but about a dozen people ask about this song and he does not answer them......but someone else will ask something unrelated to this song and he answers??"
"About a year ago on another posting of this song, someone had a link to a conversation with a woman who was allegedly Joe Cavazos daughter. She very adamantly denied this was her dads band, Z'Rose. They person kept pressing her and she did not budge a single inch, "NO, its not my dad's band". The only thing that could be confirmed was the woman's name did match a name in Julio "Joe" Cavazos obituary as his daughter. But if it was her or not I can't say? Many peoples on other postings and on forums have all claimed to have gotten in contact with Z'Rose and stated they responded "No" to this being theirs.
So the "Kings Fall" song by Bernard Cavazos is actually a completely different song. He is also not related to the Z'Rose Cavazos. Somewhere I read that the "Kings Fall"/"Fallen King" song by Bernard Cavazos is about a corrupt politician or mafia like "king" not an actual king. Again none of this is from me, it's from things I read, not me.
When 'Wang' did a video about several mystery songs he included this one. In his video (I don't know if he made more than one?) he talked about how that Bernard Cavazos has been contacted and has denied this is his Fall of the King song. If my memory is correct Wang read a message from him explaining his "king" was a corrupt politician or gang leader like king. Wang also mentioned there was another Bernard Cavazos who was a doctor and he is sick and tired of people contacting him about this song"
Someone that replied to him said:
"@CharlesMarkward probably this tape recording was an attempt from them to make something of their own, many bands have started this way, an example is the Brazilian power metal band Angra, they were first meant to be an Iron Maiden tribute but as things went by, they have decided to release things of their own...I couldn't find anything about this "Z'Rose" band in metal-archives, neither at Google with a simple research, but the data gathered until this moment make sense: the Z Rock radio is from Texas, the so called "Z'Rose" band is also from Texas, it was the 80's, so, without internet, this was the way bands used to promote their work...but your story adds some drifts from this sensible data available until now...they are/were from Texas, ok...but until then, they weren't any big group, which means they were probably 9 to 5 salarymen whose musician activity was on weekends and the money earned wasn't enough to keep up with, so, a trip from TX to PA is a long ranged one and expensive for their then standards, I can remember when I've read the Mick Wall's Metallica biography, in which they highlight how hard was for them to go all the way from CA to NY to record Kill em' All, well, unless someone sponsored the so called "Z'Rose from Texas" (like the Zazula couple to Metallica) to play in the events you've mentioned in PA...which means they were good and had potential (this "mysterious recording" doesn't let me lie), because it takes a lot for someone at the other eastern extreme of a big country like the USA to call someone all the way from TX to play in an event when probably there were good bands around and without the need of a sponsorship to travel and get some place to sleep and eat..."
Therefore Charles says: "Also, i am not the one saying it's not them. People much better with much more access to metal archives/records are saying it's not them. BUT, everything you said makes perfect sense to me and I have no argument against any of it. It would make perfect sense if it was a possible pitch demo Z'Rose recorded and kept along for a few years before a station played it. My sisters are %98 certain it was a Manowar song, the only other band they mentioned as a possibility is a Greek band i can't find anything about called something like Sarassa??"
Someone told him to contact Erik: "A little bit ago someone in here suggested i contact my sisters ex and ask where he got this song. I could not get a hold of him, but i did get in contact with his brother he played with. According to the brother they got the song from their aunt who lived in Philly (Center City) and would send them tapes of songs to play. This song was on a tape sandwiched between "4 or 5" Manowar songs. He specifically remembered this for 2 reasons: 1, their aunt wrote "Killing of the king by No Name" and 2, the last song on the this tape was labled as a Venom song (he did not recall which) but was actually "Melody of Love" by Bobby Vinton😂. So i think this is why my sisters keep saying it's Manowar, because if it was on a tape with a bunch of their songs that chances are they heard a crapload of times?"
He contacted Erik's brother (Erik is supposedly the ex boyfriend of one of his sisters) and received this reply: "Erik's brother returned another email I sent about this song. I made a post about it about a week ago. The brother says their aunt who lived in Philly included this song on a mix tape of stuff for him and his brother to play. This song was sandwiched between several Manowar songs and the last song on the tape was supposed to be a Venom song but was actually Bobby Vinton's "Melody of Love" 🤣"
Therefore debunking the possibility it's a Manowar song, he also adds: "She (the aunt) passed in 2014. She would record songs off the radio for them. She lived in Philly (Center City) but also had a place in Florida, so he was never sure which cities radio stations she would record from. This song she wrote "Killing the King?" As the title and "???" as the band name, but it was between several Manowar songs. I think this might be why my oldest sisters are so insistent this is a Manowar song because they may have listened to it with Erik and his brother.....it's a theory lol"
He also thought of Iced Earth as the possible band: "lostwavefinder587 I immediately thought of Iced Earth when I heard this song. Although it's likely just a coincidence, it's interesting to note that Iced Earth was originally called "The Rose".
Someone said to him: "if that's any help, the Greek band's name you're talking about is probably Sarissa. I don't think it's them, though: the vox sound kinda different, and their songs are mostly Ancient Greece-themed." And he replied: "Yes, thank you! All this time I've been spelling it wrong. I gave a quick listen to a demo of theirs from '86. In terms of sound and beat and tempo etc, they are pretty close to this song. In terms of vocals, they sound nothing alike." Therefore, he debunked Sarissa himself.
Now here he changed his version and provides a new lead given by his sisters:
"Holy crap for some reason my last post got cut in half and didn't include the following info, sorry! So the individual i spoke to and got the new possible lead is the former singer of the one band my sisters mentioned, Purgatory, (i do NOT have his permission to use his real name but his stage name was Tarantula). He confirmed he played this song "once or twice" but didn't know the lyrics so they just repeated several "blocks" over and over again. He heard it from a band in NJ and when he asked if he could use the song they replied along the lines of "It's not our song, we don't care" but gave no indication who it was or they even knew who it was? He suggested the band "Knightmare" because they were from Texas and he remembers all of their songs being medieval or medieval fantasy related. Supposedly they wore what looked like full on plate armor (he does not know if it was actual metal armor or something made to look like it). He saw them perform a handful of times because he spent summers in Texas on his grandfathers (mistakenly said uncle in my last post, sorry) ranch and would sneak off at night to "the metal scene" (i do not know if that was a club name or if he just meant that in general?). He began visiting his grandfathers ranch in 1980 and stopped when his grandfather retired in 1992. He gave an estimated timeline for "Knightmare" of 1981-1989."
He corrects himself by saying they are not called "Knightmare": Interestingly, my supervisor at work lived in Texas during this timeline (roughly mid 70's to mid 90's from what i can gather?) and when I asked him about Knightmare he had no idea. But when i mentioned they dressed up like knights in armor he suddenly looked startled and said "That wasn't their name, their name was Battle Battalion or some s*** like that".
But then he says: "So i posted a few months ago about this song, my sisters remember garage bands in the area playing this… I checked every band called Knightmare on Metal Encyclopedia and it doesn’t look like it’s our band." "Forgive my French.....Damn. I thought maybe it could have been a lead but i guess like dozens of others I've come across, dead end. I did a quick search for Knightmare a few weeks ago and I got all excited i saw one band dressed up like monks or Druids, but that band only came out in 2017. I think it's safe to say the name has been used by many bands."
Then someone asks him: "Does the name "Battle Battalion" show up on any Metal "pedia" sites? That's what my supervisor claims this "dressed up in medieval armor" bands name was?" and another one told him: "I saw some bands with Battalion on the metal encyclopedia and discogs and none of them are our band. I don’t think we should go based on what a band wears as our lead."
Then he debunks the Knightmare (and the Conquest) lead: "So a little bit ago i mentioned a band name "Knightmare" as a possibility for this song. Well the band was actually called "KnyghtBlyde" (Knight Blade) and i got in contact with the daughter of the vocalist last night. I played this song for her and after some confliction/hesitation she said it is NOT her dad. The biggest thing was all of her dads songs were based of Aruthurian lore and filled with references to Camelot, Arthur, Morgana, Lancelot, Excalibur etc. Since this song has none of that, its not them. She has no idea who this is. I did a quick search "Conquest 80's metal band Texas" and found 3 results. Conquest from San Antonio, split in either '85 or '87. Conquest from Dallas, '86 - '90. Khan'quest (possibly same band as Khanquistador?), no location given but split up in '88 then reformed in 2000 then......nothing? I could not find anything about any of their songs or demos or releases or band members. But it's obvious I was thinking of the wrong Conquest bands 😂 Conquest was ruled out. Someone who owns the tape was contacted and told us this isn't them."
And he says the singer of KnyghtBlade is convinced this song is from Battallion:
"So a little bit ago I mentioned getting in contact with KnyghtBlyde singers daughter who states that this is NOT her dad. She contacted me this morning, her father thinks this song might be by a band called Battalion. But her father said Battalion also went by the name AAA, Anti Aircraft Assault (or Artillery) in their early days. According to her father AAA/Battalion were from Texas but at least 2 of their members were originally from Chicago. Has anyone ever heard of either Battalion or AAA, Anti Aircraft Assault? The closest I can say is my one supervisor at work mentioned a band Battle Battalion from Texas when he lived there."
Then someone replies to him: "you are right there is a band named Battalion formed in 1984" He says: "I cannot find a single piece of music from this particular "Battalion"? From what I could find they formed between 1983 and 1985, split, reformed under a few possible names, split, repeat. 2 people I asked did say they remember a band of some sort from "out west" Anti Aircraft A-something, but neither could give any info."
Now here, he suggests it could be a Talon song:
"So here's a potential lead for everyone: I was just playing this song for a friend who is obsessed with all metal music. She asked me "Where did you get that Talon song?" Talon was/is a German heavy metal band from the early 80's that released several demos and full on albums between '83-'89. Almost all of there songs were medieval themed, especially their 2 demos. Herr's the thing, they supposedly have 3 unnamed tracks from both demos, one allegedly called "King Slayer". I listened to a bunch of there songs and I have to say there are several songs where the singer sounds exactly like our mystery singer, but then the next song they sound nothing alike. There was one song called something like "Execution" that the opening guitar sounds like this songs opening only slower? I'm not saying it is Talon, but it is possibly something to look into or at least consider?"
He also claimed the singer sounds like Bruce Dickinson (which has been suggested many times):
"I've said many times that I personally feel this vocalist sounds extremely close to Bruce Dickinson. There is a clip of Bruce singing Tom Jones' "Delilah" on either a talk or game show, and his opening of that song is nearly identical to this Fall of the King vocals! Tone, tempo, cadence, pitch......it's really really on spot. I am NOT saying it is Bruce, I'm just saying whoever it is does a good job singing like him."
He says this song could be made by Eviscerator:
"Hello again everyone, has anyone ever heard of a band from Britain, late 70's through late 80's called "Eviscerator"? Very very long story short: I played this song at a Viking/Pagan/Neo-Folk/Black Metal "bar" about half a mile up the road from my place and the one patron who looked like Elvira and Lilith Bathory had a daughter together (HOT HOT HOT) comes over and asked me to replay it and she sang along with the recording with about %95 accuracy! Oddly, at the end after the 4 or 5 "The Fall of the King"s, she suddenly sang "The evil one now wears the crown, all hail the evil one" and head banged for a few moments. According to her, this song was by a band called "Eviscerator" and they always claimed this song was written as a pitch track for the movie Heavy Metal? I mentioned how this song by numerous accounts was recorded here in the USA in 86-87 from stations in Texas, Chicago, Cleveland, NYC and (by only one account) possibly Florida. She didn't feel there was an issue with that as stations will often play random things just to fill the spot including songs that are several years older. I asked about her added line at the end and she stated "I didn't add s*** bud, whoever recorded it must have cut it off before they got to it". I mentioned how numerous people strongly believe this is the work of Z'Rose, she said they probably covered it a bunch of times but it is not their song and even stated that this particular recording sounds like it could be them covering. She was more familiar with Z'Rose than me, she commented "The 3 Cavlaros brothers from Texas right? The singer was the oldest brother Jeff?" (I know that's not their name, i only included it for aunthenticity per context of our discussion, the last name is Cavazos and there was only 2 of them right?). She also told me Z'Rose had about a dozen other names through their years including "Gypsy Rose". I asked how she knew this British band "Eviscerator" and she answered that she lived in London from 78-85 and this song was played a lot on "amateur hour" on several stations, especially university stations. This kind of took me by surprise because i thought she looked younger than me (I'm 39) but she lived in England for college and her first husband in the late 70's??"
"In my last comments i mentioned a bar i went to was going to have a mini concert featuring bands that specialize in black metal and 80's tribute metal and i would play this song to see if any of the band peoples or concert goers would chime in. I did just that and got a few hits on the radar with a few of the band members. The one band, Inviaat, the singer says he remembers this song being played on a radio station in Philly PA for an entire summer because that station was trying to find the band. He does not remember the specific station but said it was near the Taylor University campus (my understanding is that there is several?) because the station thought it was the students from that university's music program. When i asked him when exactly that would have been he said Summer of 1983 because he was married on Halloween 1983 and was hoping the station would find the band so they could play at his wedding. A member from the local band "inductus Mortis" said he recalls that song being played "somewhere in the mid 80's" but does not remember if he heard it in Chicago or Cleveland because he bounced between them. I asked several bands, include the Venom tribute band Poisonous Whisper if anyone had ever heard of a band name Eviscerator from the 80's. Only one person thought he heard the name but it wasn't a band name it was a compilation album of NWOBHM from roughly '83-'84, but couldn't tell me anything other than that. As for the other concert goers, the #1 response i got from them was along the lines of "Dude you can sing, you should go pro!".....in other words they thought it was me promoting myself (I wish i could sing like that!!). the #2 response was people thought it was Manowar. After those 2 the guesses were the usual ones i have seen here and everywhere else this topic comes up: Blackmaine, Axis, Overkill, Overdrive, Black Sabath, Iron Maiden, Anthrax, Slayer, WitchAxe and 2 people even asked if it was an Ozzy Osbourne demo."
"I asked around, including my oldest sisters I've mentioned in my postings, about Eviscerator. The only person who heard of them, the one from this time-frame not the other 8 or 9 bands from the 2000's with that name, said they were a generic ManowaIron Maiden/Judas Priest tribute or more accurately, ripoff, band who sucked. I am not saying I buy this woman's account, but i'm also not discrediting it or calling her a liar. Her familiarity with this song and her accuracy with the lyrics makes me believe she knows this song from somewhere.....what that somewhere is, i can't comment because i don't know?"
"So far my friends and I have several "pings" to look into, the name Eviscerator has absolutely nothing from the time frame we're looking at. But there is (was?) a "Lee Lesaat" Canadian/British "mercenary" (did not belong to any band but would play for others) drummer who now lives in NYC my friends are looking into.
There is an 80's metal/black metal tribute concert this Saturday at the bar I was at last weekend. After the bands play their sets they have an open mic like set up where you can play your own music (as long as it fits the theme). I'm going to try and play this song and see if anyone, bands or crowd or food vendors etc, have any reaction.
And by "pings" I just mean responses/possible possible long shot leads. The guy or girl claiming to be a psychic vampire who time traveled and wrote this song for The Lost Boys movie is NOT going to be one of them😂"
Then someone asks: "What band is this Eviscerator ? I found a band that was formed in 2012 . Furthermore tthe song is not in the metal archives I searched through lyrics was not found." He says: "Allegedly they were in England in the 1980's, but the woman stated 2 of them had New York accents. If all of her account is true and accurate, they were NOT a professional big name band. I did find several bands with the title "Eviscerator" (in different variations) but all of them were from the 2000's. The only "pro" band with that title I could find was a Hungarian band from the mid 2000's. I asked Satanic lady if she remembered any of the other bands that played alongside "Eviscerator" and she only remembered 3: "Band-Shee" (an all female band....get it?) Gargoyle, and Werewolf Tears."
"I have a very very small update for everyone, but it's still an update nonetheless. The mystery succubus looking woman who said this song was by Eviscerator and sang along to it (even when I "accidentally" muted my phone to see if she was just repeating what she was hearing.....she was not) has been identified by my journalist friend! We are going to try and get in contact with her and see if there is anything else she can remember about "Eviscerator" that could help. I'm not going to get my hopes up, but her familiarity with this songs lyrics and the fact she sang almost in perfect synch with the beat makes me feel she really did know this song from somewhere in her past. That or she is a very good actress? Lol
I found only 1 solid, confirmed band with that name but they were from mid 2000's Hungary. But several peoples now and then tell me they remember hearing that name in the 80's as various things; crappy garage band, NWOHBM compilation album/work, some sort of event space or name, most recently someone claimed he thought it was the stage name of a singer but didn't know who or what band. I'm trying to get in touch with the woman who originally mentioned that name."
He posted this comment that lead nowhere: "2 very small updates for everyone:
1) The Viking/Pagan/Goth/Black Metal themed bar just around the corner from me is having a New Years event tomorrow night. They actually agree to give me a "booth" where i can have a "guess this song" set up. And, it will be right next to where the bands play...I'm going to be between the "stage" and the food truck lol
2) The one radio station i submitted this song to will play it on their "X hour" on 1/8/24. It is not a hugely popular segment, maybe a few hundred listeners, but it's better than nothing.
Here's to the New Year and hope this song and numerous others get solved!"
"So the station played this song Sunday night/Monday morning. They played it 4 times between 2:07am - 3:12am. They received 9 calls about it and about a dozen emails (I seriously didn't know they had an email!?!?!?). Unfortunately the majority of contacts were people either asking for them to replay it or people thinking it was Manowar. There were a few Iron Maidens and one or 2 Ozzy Osborne's. Only 2 people stated they heard this song before. Unfortunately they heard it from "some kilt wearing guy at blank bar plays it, I think it's him self promoting". Yes that's me they referenced and no it is not me singing lol"
He suggest matrixx as a possibility: "There's a band called matrixx that has been giving me interest. They were only around for two years due to financial struggles in their stage. If you look up attaxe and fiinal notice they share two members of matrixx. Their drummer and guitarist sound very similar to the band from this song. It's pretty crazy too because they have a song called defy the king. They also had a label to produce their songs which is called Suma Recording Studios. This may be the reason why the audio sounds too good for a small band. I hope that this is the band! Too many good clues that I found"
He debunks the Steven Lindfield lead: "One of the names thrown about here and there on posts about this song is a Steven Linfield ("Lindi") who bounced between Chicago and NYC in the 1980's. His alleged involvement varries between being the DJ who allegedly played it on a NYC station, to being a Chicago stations record manageclerk etc etc. I got in contact with him yesterday. He denies having ANYTHING to do with the airing of this song and does not know how or why his name came up. While he did work at 2 stations (NYC, then Chicago during the summer) he was an overnight watchman (security). However, he does recall this song being played on "some amateur hour crapshoot" in '86 in NYC a bunch of times. At that point in '86 he claims people were referencing it as "The King Song" or "The song of the King" (drawn out to match the singers "The Faaaalllll, the fall of the kiiiiiing") and it was already 2 or 3 years old at that time. He did explain that at least at the Chicago station there was an amateur drop-off slot that the dj's would pick through and play random "no namers" labeling them as "space filler". Because they would be played, literally just to fill space, they were NOT mandated to keep any records of them. Sometimes the dj's would just make up names to some of these. One of his main duties was to check the drop-off to make sure there were no bad things thrown in there instead of cassettes. Another dead end, but at least we rulled out one theory......silver lining??😂 LINDFIELD, not Linfield. Darn autocorrect on this phone."
He is convinced it's a professional band's demo: Thats why a lot people I have introduced to this song think it's a professional band, or at the extreme least an amateur band playing with top level equipment/sponsor? 1983 guy stated they sound like they have equipment his garage band "couldn't even afford to dream about looking at yet alone use". It's also one of the reasons my 2 oldest sisters insist this is a professional band (sister #1 says Manowar, #2 says Manowar or Sarissa) because there are no goofs or mistakes or errors. My sisters gave an example of a garage band from their Kutztown university days, "Freefall Abyss" that self released a demo and in one song you can hear a telephone ringing in the background and in another you can hear a fan or ac unit going.
He contacted a girl named Della: "This song was actually played on an old Philly/NJ station on the segment "Della names your tune" in 2009. I was able to get in contact with "Della" (real name withheld by her request) who at first stated "I played thousands of unnamed songs bud, I probably played this one 100 times, sorry i wont be much help" . Then a few days later replied "I do recall this one, it was sent in from a local listener who had it labeled as Dungeon Master or maybe Dragon Master on a CD with a bunch of old early Manowar, JudaPriest, Iron Maiden, Megadead, Metallica and AngelWitch songs. He or she claimed their father had this song on a tape from his college days. Nobody knew what or who it was back in '09 or '10 and as far as I know nobody figured it out when I left the program in '15." The only name she gave, and I don't know if this was even a real name or the drummers "stage name" was Leopald Lestat.........I do have 2 people looking into it (from a metal dating site of all places). Disclaimer: I know some of those bands are misspelled, I purposefully left it that way because that's how she sent it to me."
"I went down that road, you nailed it right on the head. There is no way to track down who that listener was. The only hint she had, in the form of the note attached to the CD was the person said they were from Radnor PA. I couldn't tell you because the other songs kind of bounce around in terms of year: there's a Judas Priest and an Angel Witch song both from 1980 but then there's a song from Megadeath (I believe Megadeath came out in '85?) and a Metallica song from '86? For some reason my one comment didn't show up? Della gave a pretty big hint, she said the mailing address on the CD was from Radnor PA, but the phone number included was a landline for a Chicago address. Her and the station managers assumed it was a "shadow number" and didn't bother keeping record of it. A lot of her requests had local addresses with out of state phone numbers, cellular and landline."
He suggests Dungeon Masters: "I have a potential lead, "Dungeon Masters" from Pittsburgh PA? Long story short: everyone at work talks about a "hot nerdy chick" who works at the one antique book store in town and she is a music genius and knows EVERY song people play. So i decided to test it. I played this song and she stated "I think thats Dungeon Masters, they were from my hometown of Pittsburgh PA back in the early to late 80's. Thats either Dungeon Masters or someone doing an incredible job imitating them?". Given that Cleveland is only a 2-3 hr drive from Pittsburgh (from what Steelers players say) i think this could be a possible lead and explain the Cleveland recording? Again, this is only a POSSIBLE lead, but i think it has potential?
Currently my one "source" is looking into it. He is not always accurate (as evidenced when we were looking into Conquest) but its better than nothing."
And someone adds this: "Della said the same Dungeon Masters so better look into it"
But he says this: "Close, "Della" stated the listener who sent in the CD had this song labeled as "Dungeon Master?", not a band name. But I am looking into it as best as I can. I found a Pittsburgh band "Dungeon" but they're NOT metal they're an Omnia/Faun like band (neo-folk I think is the term?) formed in 2018. I sent word out to the people I know and my "team". Now it is a waiting game."

I’m wondering if anyone else is aware of songs like this. Bohemian Rhapsody is a prime example. Here are a few others off the top of my head.
Scenes from an Italian Restaurant - Billy Joel
Siberian Breaks - MGMT
Daydream/wetdream/nightmare - Saint Motel

FIRST, WHAT IS THE RED CROSS?
The Red Cross was founded in 1863 by Henry Dunant, a Swiss businessman horrified by what he witnessed in the Italian battlefield during the Battle of Volturno. By 1933, the Red Cross was the central humanitarian player in drafting the modern laws of war. In fact, the Red Cross organized the conference that drafted the original Geneva Convention.

ANTISEMITIC BIAS
The Red Cross has a long history of antisemitic bias; most notably, it served as a propaganda mouthpiece for Nazi Germany and even helped top level Nazis escape prosecution.
After the Holocaust, Jewish survivors not only accused the Red Cross of doing little to help them find surviving family members, but also accused them of being apathetic and having “no feeling.”
But the bias didn’t end there. The Red Cross refused to recognize the Magen David Adom (Red Star of David) until 2006, even though it had long admitted the Muslim Red Crescent. This rejection was hardly just a symbolic issue, as it denied the Magen David Adom protection under international law.
Much like the Red Cross served as a Nazi propaganda mouthpiece during World War II, the Red Cross has periodically parroted Hamas propaganda over the years, only to later take back their claims, after the damage has already been done.

WHY ARE JEWS ANGRY WITH THE RED CROSS?
Since the October 7 massacre, Israel and Jews around the world have asked for the Red Cross to be permitted to visit the hostages held in Gaza, many of whom have chronic health conditions and/or disabilities and one of whom was around nine months pregnant. Unsurprisingly, Hamas has denied the Red Cross access, much like it has denied them access to other hostages and prisoners of war in the past, in complete violation of international law.
Though we hardly expect Hamas to act rationally, the Red Cross, which is in contact with Hamas, has made little tangible effort to access the hostages or information about their condition, or to even contact most of their families. Instead, it has dedicated most of its attention to condemning the Israeli bombings of the Gaza Strip. It has also chastised Israel about a new wartime law that passed in the Israeli Knesset regarding the conditions of security prisoners if a “prison emergency” is declared.

A LONG HISTORY OF ANTISEMITISM
By the start of World War II, the Red Cross, which was based in neutral Switzerland, had a policy of non-interference and “neutrality” regarding the Nazis’ racial policies.
The Red Cross chose only to concern itself with the treatment of prisoners of war from countries that had signed the 1929 Geneva Convention. However, they opted not to interfere regarding the treatment of civilians.
Following Hitler’s rise to power in 1933, the Red Cross chose to “conform” to the new regime, rather than oppose it. In fact, an SS general, Ernst-Robert Grawitz, became the head of the German Red Cross in 1933. Grawitz was closely involved in the plans to murder disabled people and in Nazi medical experimentation. The German Red Cross thus essentially became a Nazi medical unit, rather than a humanitarian organization. When pressed about it, the German Red Cross claimed that, by allying themselves with the Nazi regime, they’d have access to concentration camps, which would ensure that the inmates would be “treated better.”

THE RED CROSS KNEW ABOUT THE HOLOCAUST AS THE HOLOCAUST WAS CARRIED OUT
In the 1990s, the Red Cross finally officially admitted that they’d long had previous knowledge of the Nazis’ plans for the total extermination of Jews and Roma.
As early as 1933, the Red Cross received desperate pleas from prisoners in Dachau concentration camp, begging for intervention. By 1942, the Red Cross had full knowledge of the Germans’ atrocities. In early 1945, the president of the Red Cross wrote, “Concerning the Jewish problem in Germany, we are in close and continual contact with the German authorities.” The use of the phrase “Jewish problem,” of course, is indicative of the attitude of the Red Cross, considering the very same phrase was used in the Nazis’ “final solution to the Jewish problem” (in other words, the Nazi plan for the total genocide of the Jewish People).
A representative of the Red Cross who’d visited several of the camps falsely claimed that other than segregation, “no other discrimination was made against [Jewish POWs].”

THE RED CROSS PEDDLED NAZI PROPAGANDA
By 1943, word of German atrocities toward the Jewish People had spread throughout the world. Following the deportation of ~500 Danish Jews to Theresienstadt, the Danish authorities pressured the International Red Cross to visit the camp/ghetto to check on its conditions.
The Nazis saw this visit as an opportunity to spread their propaganda. Nearly 8000 Jews were immediately sent to Auschwitz to counteract reports of overcrowding in Theresienstadt. In Auschwitz, these Jews were placed in a “special unit” in the event that the Red Cross chose to visit them.
The camp/ghetto was “cleaned up.” For example, buildings were painted and a football field was staged. “Cultural activities” were promoted to create the illusion that the Jewish prisoners were thriving. The Red Cross officials were taken on a tour of a pre-planned route and interviewed prisoners who’d been trained on what to say. Unsurprisingly, the Red Cross left Theresienstadt with a glowing report.

1944 letter from the Red Cross alleging they couldn't find any "extermination installations" at Auschwitz https://www.rootsmetals.com/blogs/news/exposing-the-red-cross

THE RED CROSS HELPED NAZIS ESCAPE AFTER WORLD WAR II
Both the Red Cross and the Vatican were responsible for the escape of thousands of high-level Nazi officials after the end of the war. In fact, the two worked together to ensure their escape. The Red Cross alone was responsible for issuing around 120,000 travel documents, many to Nazis. They also issued 25,000 new identity documents. It was due to the actions of the Red Cross that high-level war criminals such as Adolf Eichmann and Josef Mengele were able to escape.
To this day, the Red Cross has refused to comment on these findings, claiming that the travel documents were “misused” by war criminals, rather than acknowledging that the organization took an active role in ensuring their escape. The Red Cross also claims that individual Nazi sympathizers within the organization were responsible for this; in other words, this was a problem of a few bad apples. In reality, recent findings show that this was a systemic problem and that high-level Red Cross officials were well-aware of the issue.
In the decades after the war, the Red Cross continually whitewashed its actions both during and after the Holocaust, only admitting to some wrongdoing in the 1990s.

OBFUSCATING MORAL CLARITY
There are few situations in life where the moral stance should be crystal clear. Opposition to Hamas — and to the Nazis — is one of these cases. Yet, much like the Hamas propaganda machine has worked overtime to obfuscate the moral clarity of 10/7, so did the Red Cross obfuscate the moral clarity of bringing Nazi war criminals to justice.
The second in command at the Red Cross, Carl Jacob Burckhardt, even decried the Nuremberg Trials, calling them “Jewish revenge.”
For a full bibliography of her sources, please head over to Rootsmetals Patreon.
https://www.rootsmetals.com/blogs/news/exposing-the-red-cross

So, I got a new follower a few days ago. I had a look at their account and it's fairly new, no pfp, generic name, looks like only a few of weeks old judging by the activity, but their account is just really weird. they have logged 500 films and every single one is logged as 5 stars with a like, and they post dozens of reviews a day and the reviews all just sound like ChatGPT blurbs; they're all just basic descriptions of the film and actors without really offering any real personal opinions, I'll paste a couple of examples of what they've posted below:
"The second adaptation of the classic story, this time, comes from Guillermo Del Toro in this two-hour stop-motion epic. It boasts a cast that includes Ewan McGregor, Christoph Waltz, David Bradley, Tilda Swinton, Ron Perlman, Cate Blanchett, Finn Wolfhard, John Turturro (in his first role as a stop motion character since Henry Selick’s “Monkeybone” 21 years ago), and Tim Blake Nelson. It is said to be a darker take on the Italian fable."
"Loosely based on the Graphic Novel “Sandcastle”, M. Night Shyamalan’s latest film, which is nothing short of brilliance, sees a family and an ensemble of vacationers who discover that they’re aging rapidly with each hour on an island. The children are growing at an alarming rate, which leaves the group to believe that the island is reducing their lives to just a single day. The film boasts a terrific cast that includes Gael García Bernal, Rufus Sewell, Vicky Krieps, Abbey Lee, Alex Wolff, Thomasin McKenzie, Ken Leung, Eliza Scanlen, Embeth Davidtz, Aaron Pierre, and Nikki Amuka-Bird. This movie will be forever crystallized in cinematic history forever."
Just seems really weird to me, my honest opinion is that this account just looks like a bot, or the very least someone posting AI composed reviews, maybe that's incredibly harsh, but I dunno, considering the amount of bots you see on twitter and stuff, I've just become extremely sceptical of a lot of content on social media, If it is a bot, I don't understand what the benefit of the bot is, like there is no monetisation on lb, there are no links in it's bio etc, it doesn't seem to be spam following people. Anyone else come across bots or weird accounts like this? Am I just being mean lol?

As the title suggests, I was listening to a famous Italian YouTuber in the car today who made this statement:
"I'm experimenting with this thing with my little son (around 10 years old), when he receives Christmas presents or presents for other holidays from various grandparents and aunts, to get him used to the basics of personal finance and make him understand savings and investment, I make him the proposal to make a bond with me."
"In other words, I tell him that if he deposits the money he receives from me for a certain period of time, I will give him monthly interest on the fact that I hold it."
In the end, he said that the first time he used this technique he lasted a month and then wanted his money back, he said "maybe he didn't trust the issuer's reliability."
The second time he said that he has been able to resist for a few months now.
Do you think this can be a good approach to teach the basics of personal finance, saving and knowing how to wait leads to a greater reward than wanting everything right away?
We are surrounded by parents who fill their children with things and never make them really want anything, lowering the expectation and desire to get something they really want and reducing the pursuit of 'goals'.
I still don't have a definite position on this, I think this type of approach is fine a little later on, not exactly when they are little.
However, I think it's good not to fill them up with a mountain of useless toys and things from an early age. Maybe buy nicer and better quality things but at less frequent intervals and make them really want something. (As was done with me, since I was little), too bad my parents weren't the best at saving and investing, but whatever.
What do you think?
Have you ever experimented with this type of approach with your children?
Or did your parents teach you things like this and with what method???
What do you think is a good age to start laying the foundations of personal finance?
I hope that this post can be a starting point for some interesting thoughts and reflections.
Ps. Anyway, I'm definitely of the position that we shouldn't talk about it too much (I don't really agree with the YouTuber's method), their priorities should be other than little ones they should think about being little without too many thoughts, teach good principles and let them express themselves at their best, as teenagers you can start to make them understand the basics of personal finance and prepare them for when they are older, surely setting a good example can pay off.

As the title suggests, I was listening to a famous Italian YouTuber in the car today who made this statement:
"I'm experimenting with this thing with my little son (around 10 years old), when he receives Christmas presents or presents for other holidays from various grandparents and aunts, to get him used to the basics of personal finance and make him understand savings and investment, I make him the proposal to make a bond with me."
"In other words, I tell him that if he deposits the money he receives from me for a certain period of time, I will give him monthly interest on the fact that I hold it."
In the end, he said that the first time he used this technique he lasted a month and then wanted his money back, he said "maybe he didn't trust the issuer's reliability."
The second time he said that he has been able to resist for a few months now.
Do you think this can be a good approach to teach the basics of personal finance, saving and knowing how to wait leads to a greater reward than wanting everything right away?
We are surrounded by parents who fill their children with things and never make them really want anything, lowering the expectation and desire to get something they really want and reducing the pursuit of 'goals'.
I still don't have a definite position on this, I think this type of approach is fine a little later on, not exactly when they are little.
However, I think it's good not to fill them up with a mountain of useless toys and things from an early age. Maybe buy nicer and better quality things but at less frequent intervals and make them really want something. (As was done with me, since I was little), too bad my parents weren't the best at saving and investing, but whatever.
What do you think?
Have you ever experimented with this type of approach with your children?
Or did your parents teach you things like this and with what method???
What do you think is a good age to start laying the foundations of personal finance?
I hope that this post can be a starting point for some interesting thoughts and reflections.
Ps. Anyway, I'm definitely of the position that we shouldn't talk about it too much (I don't really agree with the YouTuber's method), their priorities should be other than little ones they should think about being little without too many thoughts, teach good principles and let them express themselves at their best, as teenagers you can start to make them understand the basics of personal finance and prepare them for when they are older, surely setting a good example can pay off.

https://facts.net/wp-content/uploads/2023/07/15-facts-about-fats-waller-1689249690.jpg
This is a subreddit primarily focused on modern pop music, but for his 120th birthday I want to take a moment to remember one of the most iconic pop acts in American history:

Thomas Wright "Fats" Waller

A jazz pianist, a singer, and a prolific songwriter famous for his ability to jump onstage and "lift up the band," Fats Waller was a regular fixture of the nightlife scene in New York (an important figure of the legendary Harlem Renaissance) and toured his act all around the country in addition to working as a recording artist in the budding record industry.
In a way, he was one of America's first pop stars- a musical prodigy who dropped out of high school, broke into the music industry when he was a teen, sold tons of records, and developed a huge onstage persona and lived a hard partying lifestyle. We've heard that story a million times, but Fats did it first.
An often repeated story about him recounts a shocking incident where gangster Al Capone kidnapped him off the street to force him to play at a birthday party, because everybody wanted to party with Fats Waller! A less repeated story is this one I found in an NPR article that describes him selling eight of his original songs in exchange for eight hamburgers, which he then consumed in a single sitting.
So certainly, a larger than life figure.

The Records

His legacy as a founding figure of America's pop scene extends to a place you might not expect: back in 1926, he signed a recording contract with the Victor Talking Machine Company, one of the earliest manufacturers and distributors of phonographs and records, which would be bought out by the Radio Corporation of America (RCA) in 1929. Then in 1968, the company would be renamed... RCA Records!
RCA is still a powerful record label today and it's partially thanks to Fats, who was a big moneymaker for them in the early days of the record industry when they were literally selling records.
Over the course of his twenty five year career, he copyrighted around five hundred recordings- supposedly, the label would send him into a recording booth with bunches of sheet music bought from Tin Pan Alley composers and he would rearrange them on the spot to give them that special Fats Waller touch!
But he's best remembered for his skills as a pianist and, most importantly, his songwriting skills. I want to take a moment to highlight that because I firmly believe he's one of the greatest songwriters in history- many of his hits have been accepted as standards and are still in rotation with jazz singers today.

The Music

You might have heard his song "Ain't Misbehavin'," which became something of his signature song after he performed it in the landmark film Stormy Weather (1943), and it's the perfect encapsulation of his style. A clever piano line, a catchy melody, a touch of humor, and a lot of heart. It's just timeless music.

I know for certain / The one I love
I'm through with flirtin' / It's just you I'm thinkin' of
Ain't misbehavin' / Saving my love for you (for you)
(And you) (And you)

There's a tongue-in-cheek sense of humor to the song that's signature Fats- in addition to the lyrics he wrote, he was known to improv and throw new jokes in on the fly during live performances.
We're lucky enough to have footage of him performing "Your Feets Too Big" (another one of his signature numbers where he chastises a woman for, you guessed it, her foot size) and you can just see the charisma oozing off of him as he banters with the band and makes eyes at the camera. All while playing the piano too!
And he was no innocent either, often lacing his songs with innuendo that will shatter any illusions you have about old music being overly conservative. Take, for example, Hattie Noel's recording of "Find Out What They Like," which begins with a disclaimer that the song is "strictly about home cooking" before she sings this:

Find out what he likes / And how he likes it
Go on and give it to him just that way
Give it to him when he wants it / And any time he wants it
And don't you have a single word to say!

He was often performing in nightclubs and bars, which meant he knew how to get the crowd going- "The Joint Is Jumpin'" is the quintessential 1920s party anthem, with the title referring to a secret code phrase that bootleggers would use during the prohibition era to let people know that a party had illegal alcohol. The jaunty music he wrote did a lot to get people on the dance floors as well!
But though he's associated with lively entertainment, there was some grit beneath all that as well. Despite his success, Waller was still a black man living in early 20th century America, and he channelled that into legendary "Black and Blue" (a hit for Louis Armstrong) which is considered by some to be one of the first jazz protest songs:

I'm white inside, but that don't help my case / 'Cause I can't hide what is in my face
How would it end? Ain't got a friend / My only sin is in my skin
What did I do to be so black and blue?

Whatever the occasion, Fats had a song for it.

The End

But like a lot of great artists, Fats had his troubles. He was known for his hard partying lifestyle and frequent money problems that pushed him to be constantly working, and he would tragically pass away in 1943 from pneumonia while on tour.
The man was only 39 years old at the time, but as of today his legacy officially stretches 120 years! So spin a record today for Fats Waller, and get the joint jumpin' in his memory.
If you'd like to hear more of his music, I'd strongly recommend setting aside ninety minutes to watch the Broadway musical Ain't Misbehavin' because it's an incredible piece of theatre that showcases his music spectacularly. Diana Ross & The Supremes did an adorable tribute to him on The Ed Sullivan Show that's worth a watch too.
Any other Fats Waller fans in the sub? What are some of your favorite recordings of his songs?

Welcome to Reading The Big Book of Cyberpunk!
Each week we (u/FarragutCircle and u/fanny_bertram) will be reading 5-ish stories from Jared Shurin’s The Big Book of Cyberpunk, which includes a curated selection of cyberpunk stories written from 1950 to 2022! We’ll include synopses of the stories along with links to any legally available online versions we can find. Feel free to read along with us or just stop by and hear our thoughts about some cyberpunk stories to decide if any of them sound interesting to you.
Every once in a while, we reach out to people who have more insight, due to being fans of the author or have some additional context for the story. (Or we just tricked them into it.) So please welcome u/RuinEleint who will be sharing their thoughts on "The Yuletide Cyberpunk Yarn, or Christmas_Eve-117.DIR" by Victor Pelevin!
“Deep Eddy” by Bruce Sterling (published 1993; also available in his collection Ascendancies: The Best of Bruce Sterling)
Deep Eddy is acting as a data courier to the Cultural Critic in Düsseldorf, right as the city goes through a Wende (a sort of anarchist “Purge”).

• Farragut’s thoughts: We’ve read Sterling before in Science Fiction. Eddy is a misguided libertarian creep who won’t stop hitting on his German bodyguard and is too dumb to understand the philosophical points that the Cultural Critic is making (for that matter, I’m too dumb to understand, too). He survives his time in Germany, but has learned nothing of value for his punk attitude. What’s the point of rebelling if you don’t understand why? The naivete and creepiness were a little too much for me.
  
• fanny’s thoughts: This did not work for me. Eddy is creepy and annoying. He keeps hitting on the bodyguard and she makes it VERY clear she is only there in a professional context. Eddy also seems to generally not have any clue what he is doing. He is libertarian and against something but no one seems to know what. He doesn't even seem to know what he delivered to the Cultural Critic.
  

“The Yuletide Cyberpunk Yarn, or Christmas_Eve-117.DIR” by Victor Pelevin (1996, translated from Russian by Alex Shvartsman)
A corrupt mayor’s computer is infected by a virus that causes chaos in Russia.

• Special Guest Ruin: This was a fascinating story to read. The way the narrative segued from a discussion on poetry to a darkly comedic look at a Russian city was remarkable. The author seems to like to start or lead with a theme or themes which seem to be only tangentially related to each other such as for example the name of the computer virus, or Gerasimov and his dog. But both elements circle back into the story and are crucial to its structure. As for the content of the story itself, I amused myself by imagining the events as being a movie that blended the stylistic elements of Tarantino and Wes Anderson. So we have brutal, bloody violence in increasingly absurd settings and the way it is all described makes it easy to imagine it all taking place amidst the highly stylized sets and characters we would expect in a Wes Anderson movie. Overall, I really enjoyed this story.
  
• Farragut: We’ve read Pelevin before in Modern Fantasy. First of all, this is a fantastic title for a story, period. Second of all, I just enjoyed Pelevin’s style here (via Shvartsman’s translation), with an omniscient narrator telling us about a completely ridiculous situation. It gets a little cagey with the identity of the perpetrator and the ending, but I’m very curious as to how darkly I should read it (now that I think about it, it’s directly connected to the original, so I should read it very darkly indeed). Shvartsman’s occasional footnotes were very helpful, however, especially with the context surrounding Gerasim(ov) and Mumu.
  
• fanny: Ruin's review is so good, I am not sure what to add. The style of this story fit the elements so well. It starts with a poem whose themes carry through the story. The footnotes were a really great addition and helped contextualize. The narrator keeps upping the ridiculousness until we get to the end and everything gets wrapped up.
  

“Wonderama” by Bef (1998, translated from Spanish by the author)
Lalo (or is it Eduardo?) wakes up every day in the most awesome life in 1974, but it’s revealed to be a lie and ends tragically.

• Farragut: Bef is a Mexican SF writer, a crime writer, and a graphic novelist, and honestly his whole bibliography sounds cool as heck. Told in a series of diary entries with some small interruptions, we follow a kid whose life is like a Mexican kid’s sugar-fueled dream. The reason for its inclusion in this thematic section of the anthology becomes clear however, and I yelled, “Noooo!” at the ending. Sigh. It’s very good!
  
• fanny: I am a sucker for diary entry style stories and this was no exception. Lalo’s life seems almost perfect, but it feels so off. The story feels progressively more off until we start to question everything. Also, yelled “Nooo!” at the ending. Very good. Absolutely loved.
  

“comp.basilisk FAQ” by David Langford (1999) (link to story)
A FAQ-style story that clearly describes a bizarre future where images on the web and TV are banned due to the risk of death.

• Farragut: Langford is famous for having the most Hugo wins (29), mostly for the Fan Writer category, but also Short Story (not this one) and Best Related Work (not this one either). This is a delightful story that made me think of it as a precursor to qntm’s later story “Lena” from Week 5 (though obviously only in general form). Apparently I love the faux-nonfiction style where some of the horror and plot is between the lines. The final FAQ about Microsoft was darkly funny.
  
• fanny: This was fun and very short. The FAQs related to basilisk and writing were great. It goes between funny, dark humor, and just dark. I liked the commentary on technology and software. I also really appreciate the standard response answers explaining they should post someone else. This is something I deal with often and this was great.
  

“Spider's Nest” by Myra Çakan (2004, translated from German by Jim Young; also available in the anthology The Apex Book of World SF 3 edited by Lavie Tidhar)
Spider, uh, does something? Is looking for drugs, maybe? But something else happens instead?

• Farragut: Çakan is a German writer from Hamburg, and after reading this story, I’d say Shurin made hamburger out of me, too. The main thing I got out of this story was that Spider really wanted something, maybe. I thought it was drugs, but he got angry at his dealer and then got super weird with his friend’s girlfriend? And then there was a Silver Spider, who wasn’t him, but maybe he plugged himself in to replace her? What is happening?
  
• fanny: Spider definitely wanted drugs from his dealer, Ant. I think. Ant got annoyed at something then Spider got into a voyeur situation (maybe). There is a Silver Spider in his dreams that makes him feel better. I couldn't tell if this was dream or drug induced or technology induced. The end is super weird and makes even less sense than the story. Spider might have done a murder on himself? I have been confused before in this anthology, but not to this level.
  

That’s it for this week! Check back the same time next week where we’ll be reading and discussing "The Last American" by John Kessel, "Earth Hour" by Ken MacLeod, "Violation of the TrueNet Security Act" by Taiyo Fujii, "Twelve Minutes to Vinh Quang" by T. R. Napper, and "Operation Daniel" by Khalid Kaki.
Also posted on Bochord Online.

Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.

1. Parallelismus Membrorum:

- *Definition:* A rhetorical device where phrases or sentences are structured in parallel form. - *Example:* Create a poem using parallelismus membrorum to emphasize a profound truth or observation. 

1. Rubaiyat:

- *Definition:* A form of Persian poetry with quatrains and a specific rhyme scheme. - *Example:* Write a rubaiyat exploring the themes of love, mortality, or philosophical reflections. 

1. Blues Poem:

- *Definition:* Poetry inspired by the musical and emotional elements of blues music. - *Example:* Craft a blues poem expressing the struggles and resilience of everyday life. 

1. Erasure Poetry:

- *Definition:* Creating poetry by erasing or blacking out existing text, leaving only selected words visible. - *Example:* Create an erasure poem using a page from a newspaper or a novel, transforming it into a new narrative. 

1. Anaphora:

- *Definition:* A rhetorical device involving the repetition of a word or phrase at the beginning of successive clauses. - *Example:* Write a poem using anaphora to convey a sense of urgency or reflection. 

1. Tetractys:

- *Definition:* A five-line poem with a specific syllable count (1, 2, 3, 4, 10). - *Example:* Craft a tetractys exploring the stages of personal growth or a transformative experience. 

1. Sijo:

- *Definition:* A traditional Korean poetic form with three lines, each with fourteen to sixteen syllables. - *Example:* Write a sijo capturing a moment of beauty or introspection. 

1. Blitz Poem:

- *Definition:* A form of poetry with a rapid, stream-of-consciousness style and repetition. - *Example:* Create a blitz poem exploring the chaos and beauty of urban life. 

1. Epitaph:

- *Definition:* A short inscription on a tombstone or a commemorative poem for the deceased. - *Example:* Write an epitaph honoring a fictional or historical figure with a poignant message. 

1. Prothalamion:

- *Definition:* A poem celebrating a forthcoming marriage or wedding. - *Example:* Craft a prothalamion capturing the anticipation and joy surrounding a wedding day. 

A sonnet is a 14-line poem with a specific rhyme scheme and meter. The two most common types of sonnets are the Shakespearean (or English) sonnet and the Petrarchan (or Italian) sonnet.

1. Shakespearean Sonnet (or English Sonnet):
   
   • Consists of three quatrains (four-line stanzas) followed by a rhymed couplet (two-line stanza).
   • Rhyme scheme: ABABCDCDEFEFGG.
   • Typically written in iambic pentameter (ten syllables per line with emphasis on every second syllable).
2. Petrarchan Sonnet (or Italian Sonnet):
   
   • Comprises an octave (eight-line stanza) followed by a sestet (six-line stanza).
   • Rhyme scheme for the octave: ABBAABBAA.
   • Rhyme scheme for the sestet: Various patterns, such as CDCDCD or CDECDE.
   • Often written in iambic pentameter.

Sonnets are known for their structured and intricate form, and they are commonly used to express themes of love, beauty, nature, and the complexities of human emotions. Notable poets who wrote sonnets include William Shakespeare, Petrarch, and Elizabeth Barrett Browning.
Upon the street, where bustling crowds align (A) A newspaper salesman, sturdy stand (B) His papers rustling in the breezy grand (A) In ink-stained hands, his stories intertwine (B)
With every headline, tales unfold, unfold (C) Of distant lands and local joys and strife (D) His voice, a herald in the urban life (C) Echoing narratives, both young and old (D)
Through ink and paper, stories find their flight (E) He's not just selling news, but dreams untold (F) Each page a canvas, vivid tales in sight (E)
In city hum, where stories often fold (F) He stands, a keeper of the printed lore (G) A newsman's heart, with every paper, more (G)

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

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

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

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

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

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

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

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

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

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

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

The Scriptures seem to imply that the kingdom of God isn't exactly synonymous with what is called "the Church." The Church was a temporary eschatological community of believers that existed on earth in preparation of a kingdom where God Himself would reign, and said community had Christ reign over them in the meantime. The head of the Church was Christ, with the Father serving as his head (1 Cor. 11:3). The Scriptures teach that, when all Christ's enemies were to be made his footstool, he was to give back all authority to the Father (Psa. 110:1, 1 Cor. 15:22-28), and it is this page's belief that this happened in 70 AD.
The following quotation is from the above hyperlink:

As for the "1000 years" mentioned in Revelation, they are apocalyptic metaphor for the 40 years Christ "reigned" (triumphed) over his enemies both human and spirit, with the final triumph being the judgement of apostate Jerusalem. The "1000 years" began with his ascension, and ended with this judgement.

Thus, the community to replace the Church on earth was to be the kingdom of God. But, what even is the kingdom of God, and why did God have to reclaim authority of His own creation in the first place?
To be as succinct as possible: man sinned, and so the great level of authority God initially granted us ourselves over the creation was stripped. As a result, the human condition has suffered and it must be redeemed for God to allow us to reign with Him in the way that He originally intended for us. God has always been sovereign, of course, but He seeks the good of man to make us stewards over His world with Him, as that was His original plan and this was His original view of what a kingdom of His truly looks like: a kingdom characterized by man's love for Him and love for others.
A Biblical understanding of Adam's sin, contrary to popular thought, isn't that we are guilty of what he did personally. We simply inherit his fallen nature and a fallen world as a result of his sin, the same way a baby could leave the womb already addicted to certain substances because the mother abused said substances while pregnant. It's not the baby's fault for its condition, it was the parent's. But the baby is born with this condition and enters the world like this nonetheless.
The implication of this is that we are all only guilty of our own sins, and whether or not we ever seek to treat (or possibly cure) our condition in the first place is on us. We were dealt a bad hand due to Adam, sure, but God doesn't hold us responsible for what our forefather did. God only holds us responsible for what we do, and whether or not we seek to be liberated from the dark forces which keep us in bondage to our sinful condition (Gen. 4:6-7, Deut. 24:16, Jer. 31:30, Ezek. 18, Matt. 9:9-13).
The whole Old Testament is essentially a record of God's people constantly breaking their covenant(s) with Him. There are individuals mentioned throughout that were, of course, commended by God and the Biblical authors for their righteousness in honestly pursuing to remain faithful to their covenant with Him. But even the best of these people often faltered and, in fact, did rather heinous things in their lives at one point or another. One of the greatest examples of this is king David, who was literally called by the Scriptures "a man after God's own heart" (1 Sam. 13:14, Acts 13:22). Yet, this same man at one point committed adultery and then murdered the man he stole the wife of to try and cover it up. This was a heinous thing, and David repented of what he did with genuine sorrow and guilt toward God. God ultimately forgave him, but not without a heavy hand of chastisement and earthly consequences for his actions.
All throughout the Old Testament, you see various men of God who were deemed righteous, but these same men were usually shown to have some major flaw that prevented them from living a life that could be characterized as consistent obedience to the commandments to love God and love others as themselves. There is something deeply wrong with man's heart, according to the Bible. Something so wrong, in fact, that a whole prophecy had to be given that promised to address the issue of man's seeming incapability to accomplish fulfilling the commandment to love consistently on their own without some sort of divine help from above:

"A new heart also will I give you, and a new spirit will I put within you: and I will take away the stony heart out of your flesh, and I will give you an heart of flesh."-Ezekiel 36:26

Naturalistic philosophies see the physical world as all that exists. Humans beings are the result of mindless, chance causes and processes. Humans are essentially animals – highly evolved, but no different in significance than any other living thing. Thus naturalistic views demote humans. But this view leaves a lot unexplained. Why do humans practice altruism, benevolence, or acts of heroism? What explains acts of incredible goodness? Sure, naturalistic arguments have been made that true altruism doesn't exist, and that "unconditional love" is really just an illusion that's been disguised very well by our survival instincts that we've developed over a long period of time at certain stages of our evolutionary process. However, many people have found such arguments to be unpersuasive and naive when compared to their actual experience of the world as they mature in their lives and have what they know to be truly meaningful experiences that can't simply be reduced in the way that the naturalist wishes them to be. This realization was ultimately why I transitioned from hard atheism to agnostic spiritualism at one point or another.
On the other extreme of these things, transcendental worldviews and philosophies say that the physical world is illusory. Only the spiritual world is ultimately real. Humans are an expression of the divine spirit that is the essence of all things. If naturalistic views demote humans to the level of animals, transcendental views promote human beings. God is not “out there” somewhere; we are God. God is all, thus God is us. But this view doesn’t explain real evil. Why are people selfish? Why do they hurt others? What accounts for personal acts of evil like rape or terrorism? If we are all truly "God," then why would we ever do such things to what is ultimately "ourself"? And why can't a person who practices the belief that we are all actually "God" be only loving? There are so many people who adopt this view of reality who are constantly, day by day, finding that they struggle to be as truly loving as they wish to be because they will still sometimes find themselves thinking and doing rather evil and selfish things. I can speak from experience here, remembering throwing myself into the New Age movement when I was desperately seeking what I did not know at the time was forgiveness for and redemption from my sins because of who I was as a person up until that point. I was seeking the mythic "ego death" that promised me that I could truly be loving and find the forgiveness and redemption I was searching for, because I thought that if only I truly realized I was "God" all along, I could then accomplish these things all at once and simultaneously. I eventually found even this philosophy unsatisfactory when I came to the aforementioned conclusions concerning our great capacity for evil, and also realized that forgiveness can only exist if there are two parties: forgiver and forgivee. Such a thing is impossible if there is only really one being at play at the bottom of reality, and I knew deep down that forgiving oneself (at least, on its own) will never satisfy one's pursuit for redemption that we all inherently take part in whenever pursuing to mend even our own relationships with each other as humans. Further, love would be an illusion in this philosophy too, being that there is only really one party behind and in all of existence if "everything is God." Such an idea would make true altruism a farce, as well. There would be no such thing as real sacrifice for another, because there is no "another."
The French mathematician and Christian philosopher Blaise Pascal said, “Man’s greatness and wretchedness are so evident that the true religion must necessarily teach both.” Any philosophy that cannot fully account for human greatness and human depravity at the same time should be abandoned because it misses something obvious about the human condition. The religion of the Bible has a valid explanation for human greatness: people are made in God’s image. Thus we have dignity, value, and capacity for good. The Bible also explains human evil: the image of God has been defaced by sin. Our great capacity gets used for the wrong purposes. Our creativity is placed in the service of evil and our best intentions twisted for selfish gain. Something has gone terribly wrong. While other worldviews unduly demote or promote humanity, the Bible gets the tension just right.
Thus, human nature is puzzling and conflicting. Other worldviews—both secular and religious—struggle to account for this enigma, and don't offer satisfying solutions to the problem itself. The Bible, however, explains what happened when it tells us that man rebelled against God in the paradise that was prepared for him called "the Garden of Eden." We fell into temptation and estranged ourselves from God by tarnishing the image we were created in, and now are born with a natural proclivity to do evil, despite our best efforts to do good (that is, to do good consistently).
And so, the Bible promised a solution in the prophet Ezekiel that God will literally change our natural human condition, if we simply choose to humble ourselves before Him in faith to allow for such a change. While as unbelievers our inner disposition towards God is often rebellious, we at least still have the capacity to choose to do the righteous thing in seeking God that He may change us and forgive us if we so let Him. This is one reason why Jesus, (the one who made the fulfillment of Ezekiel's prophecy even possible by his coming, sacrifice, ressurection, and outpouring of the Spirit upon his ascension), said that only faith the size of a mustard seed was required for something so miraculous as moving a mountian to happen, because so little is required from us to allow God to change us into the kind of person He's always wanted us to be, and yet changing the condition of our own heart can be compared to literally moving a mountain if we were to try and do so on our own strength alone. The mustard seed was the smallest of seeds, and yet if one simply planted it and nurtured it, it could become a bush so large that it was comparable to a tree with branches that stretched to the heavens for the very birds of the air to rest on.
It was when I came to these realizations that I prayed to God for the first time again, having been years since I did so, going so far back as to when I was a little child even. I prayed in the dead of night in my room, and asked God to show me the truth and to reveal Himself to me if indeed these things were true, and in an instant I felt His very presence in my room, and my heart was changed. To describe such an experience would be like trying to describe the taste of something to the man born without tastebuds, the color of something to the man born blind, or the sound of something to the man born deaf; there are no words, and it is only something you can know by experiencing it for yourself. Suddenly and all at once, I knew right then and there that Jesus really was who he said he was, that the one true God is the God of the Bible, and that I have been forgiven. As the time of this post, it's been 5 years since then, I'm 23 now, and I'm still walking with God.
My prayer for anyone reading this that may not know God for themselves yet is that one day, you will too.
Back to the topic at hand.
When Adam sinned, we fell under the tyranny of death, corruption, evil heavenly powers, and sin itself. When Jesus came, Jesus was the new and exalted human, the new Adam, through whom humanity could now realize their original destiny that was laid out for them in the Garden of Eden. Because Jesus, being a man, obeyed unto death, he has defeated the powers which held us so long under bondage; we are now promised liberation so long as we simply place our faith in his sacrifice to wash us of our sins and receive the Spirit of God that is also promised to all who exercise this faith.
We often think of ‘the gospel’ as the part that brings the forgiveness of sins (and of course, that is part of the idea), but ‘gospel’ is the announcement that everything has changed in the coming of Jesus and it leads us to a new kind of living.
The gospel Jesus preached and the gospel the apostle Paul preached were different, in that Jesus preached of a kingdom where God reigns directly and with all His faithful subjects as participants in that reign. The gospel Paul preached was about the exaltation and reign of Christ, and because Christ reigned, the consummation of the kingdom of God with earth could now finally take place (Col. 1:12-13). This consummation was put on hold during Christ's "millennial" reign, which transpired between his ascension and his return. However, the consummation has come to full fruition since that return.
We will be arguing for some of these claims by pointing out how central the kingdom of God actually was to Jesus' earthly ministry and message, and demonstrate what Jesus taught about how it actually looks like.
The term 'kingdom' appears 53 times in 42 places in Matthew, 17 times in 13 places in Mark, and 41 times in 29 places in Luke. When the 'kingdom' is qualified, Luke always refers to the 'kingdom of God' (32 times) and Mark follows this pattern (14 times). Matthew, on the other hand, prefers the term "kingdom of heaven" (31 times), using the phrase to refer to the same idea "kingdom of God" only four times: 12:28, 19:24, 21:31, 43.
The Gospel of Luke records an event where Jesus responds to the population that lived near Simon Peter's house who believed in him after he had done his miraculous work there, but saw that he was leaving them:

"And when it was day, he departed and went into a desert place: and the people sought him, and came unto him, and stayed him, that he should not depart from them. And he said unto them, I must preach the kingdom of God to other cities also: for therefore [i.e., for this pupose] am I sent." (vss. 42-43)

The Greek word euangelion is often translated as the word “gospel.” In the Bible, this word is always used whenever it concerns the announcement of the reign of a new king. And in the New Testament, the Gospels themselves use this word or the phrase "good news" to summarize all of Jesus’ teachings. They say he went about “preaching the gospel [good news] of the kingdom [of God]” (Matt. 4:23).
There’s this beautiful poem in the Old Testament, and it’s in chapter 52 of the Book of Isaiah. The city of Jerusalem had just been destroyed by Babylon, a great kingdom in the North. Many of the inhabitants of the city have been sent away into exile, but a few remained in the city, and they’re left wondering, "What happened? Has our God abandoned us?" This was because Jerusalem was supposed to be the city where God would reign over the world to bring peace and blessing to everyone.
Now, Isaiah had been saying that Jerusalem’s destruction was a mess of Israel’s own making. They had turned away from their God, become corrupt, and so their city and their temple were destroyed. Everything seemed lost. But the poem goes on. There is a watchman on the city walls, and far out on the hills we see a messenger. He’s running towards the city. He’s running and he’s shouting, “Good news!” And Isaiah says, “How beautiful are the feet of him that bringeth good tidings [news]” (vs. 7a). The feet are beautiful because they’re carrying a beautiful message. And what’s the message? That despite Jerusalem’s destruction, Israel’s God still reigns as king, and that God's presence is going to one day return with His city, take up His throne, and bring peace. And the watchmen sing for joy because of the good news that their God still reigns (vs. 10).
Jesus saw himself as the messenger bringing the news that God reigns. Jesus also claimed to be the Son of man. This was Jesus' favorite self-designation, being used some 80 times in the Gospels. Notice, not just a son of man, but the Son of Man. Jesus was directing our attention to a vision described by the prophet Daniel:

"I saw in the night visions, and, behold, one like the Son of man came with the clouds of heaven, and came to the Ancient of days, and they brought him near before him. And there was given him dominion, and glory, and a kingdom, that all people, nations, and languages, should serve him:"-Daniel 7:13-14a

At Jesus' trial, the Jewish high priest accused Jesus: "Art thou the Messiah, the Son of the Blessed [God]?" His answer left no room for doubt. "I am: and ye shall see the Son of man sitting on the right hand of power, and coming in the clouds of heaven." (Mark 14:61-62). Because Jesus' was rejected and killed for threatening the power the religious authorities had over the people, the consummation of God's kingdom with earth had been put on hold until all of Christ's enemies would be put under his feet after his ressurection and ascension.
But again, what is the kingdom of God? What does it look like exactly?
Well, the way that Jesus described God’s reign surprised everybody. I mean, think about it. A powerful, successful kingdom needs to be strong, able to impose its will, and able to defeat its enemies in physical combat. But Jesus said the greatest person in God’s kingdom was the weakest, the one who loves and who serves the poor (Matt. 23:11-12). He said you live under God’s reign when you respond to evil by loving your enemies, and forgiving them, and seeking peace (Matt. 5). To us, this is an upside-down kingdom. But to God, it's right-side up. This was what God had originally planned for us: a kingdom where God reigns in our hearts.

"Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God."-John 3:3

Jesus was being quite literal here. You can’t see the kingdom until you’re born again and have the life of that kingdom. When you’re born again, you start 'seeing' differently. You see what others don’t see, you hear what others don’t hear, you know what others don’t know. And yet you may be physically in the same earthly location as they.
The kingdom of God is the totality of God’s influence that covers the world and heaven. It’s everywhere, but its manifestation isn’t everywhere. It manifests on earth wherever there are those who are born again and live as if God reigns in their hearts.
Before Jesus, John the Baptist announced to all people, “The kingdom of heaven is at hand!” (Matt. 3:1-2), as he saw a soon coming kingdom of God that would be ushered in by the Messiah. Notice that John the Baptist didn’t say that something “like” the kingdom would come and he didn’t say that the real kingdom might be thousands of years away. He said over and over that THE kingdom was at hand! Do you believe him? Did God inspire him to give a clear and accurate message or a mistaken one? If we dare to believe him, things might become surprisingly clear, simple and exceedingly optimistic.

"Thy kingdom come, Thy will be done in earth, as it is in heaven."-Matthew 6:10

Jesus taught his followers of his generation to pray that God's kingdom come and that His will be done in earth, as it is in heaven. Why pray for something that will just inevitably come by force, unless it was actually through our willing participation? That is, unless God's will is carried out through us "in earth, as it is in heaven"?

"Now after that John was put in prison, Jesus came into Galilee, preaching the gospel of the kingdom of God, And saying, The time is fulfilled, and the kingdom of God is at hand: repent ye, and believe the gospel."-Mark 1:14-15

It's very telling that these are the very first words the Gospel of Mark chooses to record Jesus as saying.
The kingdom is NOT something to wait for. Jesus says the kingdom is NOT something visible, and it is NOT something in the sky. The Kingdom Jesus taught is a spiritual reality that comes into the world through us. Considering that Jesus even said the kingdom was in and among the Pharisees in Luke 17, which seems almost offensive to consider, perhaps it is like a spiritual seed that has been planted inside each of us, and that activating faith in God makes it grow.

"Then said he, Unto what is the kingdom of God like? and whereunto shall I resemble it? It is like a grain of mustard seed, which a man took, and cast into his garden; and it grew, and waxed a great tree; and the fowls of the air lodged in the branches of it."-Luke 13:18-19

Jesus talked about the kingdom as if it would be a present reality, yet one that was growing in the world like a seed grows into a tree.

"And again he said, Whereunto shall I liken the kingdom of God? It is like leaven, which a woman took and hid in three measures of meal, till the whole was leavened."-Luke 13:20-21

To Jesus, the kingdom was something growing in us like yeast through dough, increasing in effectiveness.

"For the kingdom of God is not meat and drink; but righteousness, and peace, and joy in the Holy Ghost."-Romans 14:17
"For the kingdom of God is not in word, but in power."-1 Corinthians 4:20

Paul says the kingdom isn’t something you taste or touch like physical food. It’s not even saying the right words. But rather the kingdom comes in the realities of righteousness, peace, joy and power that flavor our lives when we live empowered by the Spirit of God and God's Spirit in us.
Since Jesus the Messiah returned only 40 years after his earthly ministry, putting all enemies under his feet, the complete consummation of earth with the kingdom of heaven has finally taken place.
The kingdom of God has come, and it continues to come through us as believers. It makes progress like light shining into the world and dispelling the darkness.

"Ye are the light of the world. A city that is set on an hill cannot be hid. Neither do men light a candle, and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house. Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven."-Matthew 5:14-16

The whole great houses being able to afford these massive keeps, using them as a sign of wealth and power, to me as a history nerd I fucking love that shit.
In real life, medieval and Renaissance Europe was pretty similar. In the larger trade hub cities, the rich families would build structures that symbolizes their own power.
Bologna in Italy is a cool example, medieval families who wanted to show off their wealth and power built massive towers. There were tons of these towers and they created an almost medieval modern city skyline.
They were also associated with a lot of death and pain. They were a symbol of wealth and a symbol of oppression.
Later on it became palaces so that they could hold balls (also in mistborn!) and in other parts of europe it was castles or keeps. I just love the whole political aspect of mistborn and how I can literally see the inspiration that Brandon sanderson must have had while creating this world. I fucking love when world's use a bit of real world history like that, it's just such a cool idea.
All these corrupt warring families that create big displays of their wealth and power in the biggest trade cities, just so cool. I love it.

Hello Fellow Apes🍌 I’m extremely tired and I have school at 8 in the morning. Don’t let my hard work go to waste. U.pv.ote
If Faraday Future Intelligent Electric Inc. (FFIE) were to experience a successful short squeeze, the potential peak price would depend on several factors, including the intensity of the short squeeze, the extent of retail investor participation, and the responses from institutional investors. Drawing from historical examples and market dynamics, here's an outline of what could influence the peak price:

Factors Influencing the Peak Price

1. Short Interest:
   
   • With FFIE's high short interest, where over 95% of its float is shorted, a substantial short squeeze could lead to a dramatic increase in price. In the case of GameStop (GME) in 2021, the stock surged from around $20 to nearly $500, representing a 2,400% increase at its peak oai_citation:1, Is a Giant Short Squeeze Brewing in Faraday Future (FFIE) Stock? InvestorPlace oai_citation:2, Why Is Faraday Future (FFIE) Stock Up 380% Today? InvestorPlace .
2. Retail Investor Momentum:
   
   • The collective buying power of retail investors can significantly amplify the stock price. If retail investors continue to buy and hold FFIE shares, refusing to sell, this could push the stock to extreme highs due to limited available shares and increased demand.
3. Media and Social Media Attention:
   
   • Media coverage and viral social media posts can further fuel retail interest and buying pressure, similar to the influence of figures like Roaring Kitty during the GameStop rally oai_citation:3,Renaissance acquired GameStop and AMC shares ahead of meme stock rally - Hedgeweek.
4. Institutional Responses:
   
   • Institutional investors covering their short positions would add to the buying pressure, potentially driving the price even higher. Some institutions might also take long positions to capitalize on the upward momentum.
5. Regulatory Interventions:
   
   • Any regulatory interventions or trading halts could impact the peak price. For example, during the GameStop rally, trading halts and restrictions on buying introduced by brokerages like Robinhood temporarily suppressed the price oai_citation:4,Key Points About Regulation SHO.

Potential Peak Price

Given these factors, a potential peak for FFIE could be estimated by looking at similar past events:

• Conservative Estimate: If the short squeeze is moderate, FFIE might see a 500% increase from its current levels. For example, if FFIE is trading at $1.80, a 500% increase would bring it to around $9 per share.
  
• Aggressive Estimate: If the squeeze is as intense as the GameStop rally, where the price increased by approximately 2,400%, FFIE could see its price reach around $43 per share, assuming a starting price of $1.80.
  

Historical Context and Examples

• GameStop (GME): In January 2021, GameStop's stock price surged from around $20 to nearly $500 due to a coordinated short squeeze by retail investors on Reddit, resulting in a 2,400% increase at its peak oai_citation:5,Is The New Meme Stock Rally Led By GME, AMC A Repeat Of 2021? Vanda Research Says No: 'Chances We Reach That Stage Are Low' - GameStop (NYSE:GME) - Benzinga oai_citation:6,Renaissance acquired GameStop and AMC shares ahead of meme stock rally - Hedgeweek.
• AMC Entertainment (AMC): Another example from the 2021 meme stock rallies, AMC's stock price increased from around $2 to over $60, representing a 3,000% increase at its peak oai_citation:7, Why Is Faraday Future (FFIE) Stock Up 380% Today? InvestorPlace .

Conclusion

While it's challenging to predict the exact peak price, understanding the dynamics of short squeezes and historical precedents can provide a reasonable estimate. If FFIE were to follow a similar trajectory to previous meme stocks, it could see substantial gains, with potential peaks ranging from a conservative estimate of $9 to an aggressive estimate of $43 or higher. The actual peak would depend on the intensity of the short squeeze, retail investor coordination, and market reactions.
(All ChatGPT oriented)

Game Information

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

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

Trailers:

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

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

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

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

But Why Tho? - Mick Abrahamson - 7.5 / 10

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

CGMagazine - Justin Wood - 7 / 10

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

COGconnected - Mark Steighner - 95 / 100

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

Cerealkillerz - Steve Brieller - German - 7.9 / 10

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

Checkpoint Gaming - Charlie Kelly - 10 / 10

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

Console Creatures - Patrick Tremblay - Recommended

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

Digital Trends - Tomas Franzese - 4 / 5

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

Echo Boomer - David Fialho - Portuguese - Essential

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

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

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

Eurogamer - Johnny Chiodini - 5 / 5

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

GAMES.CH - Olaf Bleich - German - 89%

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

Game Informer - Marcus Stewart - 9 / 10

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

GameSpot - Jess Cogswell - 6 / 10

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

GamingTrend - Cassie Peterson - 95 / 100

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

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

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

IGN - Tristan Ogilvie - 8 / 10

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

INVEN - Soojin Kim - Korean - 8.5 / 10

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

Kakuchopurei - Jonathan Leo - 80 / 100

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

Kotaku - Claire Jackson - Unscored

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

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

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

Metro GameCentral - GameCentral - 5 / 10

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

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

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

New Game Network - Alex Varankou - 70 / 100

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

Nexus Hub - Sam Aberdeen - 8 / 10

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

One More Game - Chris Garcia - 9 / 10

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

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

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

PC Gamer - Robin Valentine - 58 / 100

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

PCGamesN - Cheri Faulkner - 9 / 10

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

Pixel Arts - Danial Dehghani - Persian - 9 / 10

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

Polygon - Yussef Cole - Unscored

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

Press Start - Brodie Gibbons - 9 / 10

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

Rectify Gaming - Tyler Nienburg - 10 / 10

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

Rock, Paper, Shotgun - Rick Lane - Unscored

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

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

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

Saudi Gamer - Arabic - 10 / 10

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

Seasoned Gaming - Ainsley Bowden - 9 / 10

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

Shacknews - TJ Denzer - 9 / 10

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

Slant Magazine - Justin Clark - 3.5 / 5

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

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

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

Stevivor - Jay Ball - 9.5 / 10

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

TechRaptor - Robert Scarpinito - 7.5 / 10

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

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

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

TheSixthAxis - Dominic Leighton - Unscored

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

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

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

Too Much Gaming - Carlos Hernandez - 5 / 5

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

TrueAchievements - Sean Carey - 9 / 10

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

TrueGaming - عمر العمودي - Arabic - 8 / 10

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

VideoGamer - Tom Bardwell - 9 / 10

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

WellPlayed - James Wood - 6 / 10

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

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

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

Xbox Achievements - Dan Webb - 90%

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

XboxEra - Jon Clarke - 10 / 10

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

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

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

Game Information

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

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

Trailers:

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

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

Critic Reviews

AltChar - Asmir Kovacevic - 95 / 100

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

But Why Tho? - Mick Abrahamson - 7.5 / 10

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

CGMagazine - Justin Wood - 7 / 10

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

COGconnected - Mark Steighner - 95 / 100

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

Cerealkillerz - Steve Brieller - German - 7.9 / 10

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

Checkpoint Gaming - Charlie Kelly - 10 / 10

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

Console Creatures - Patrick Tremblay - Recommended

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

Digital Trends - Tomas Franzese - 4 / 5

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

Echo Boomer - David Fialho - Portuguese - Essential

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

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

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

Eurogamer - Johnny Chiodini - 5 / 5

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

GAMES.CH - Olaf Bleich - German - 89%

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

Game Informer - Marcus Stewart - 9 / 10

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

GameSpot - Jess Cogswell - 6 / 10

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

GamingTrend - Cassie Peterson - 95 / 100

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

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

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

IGN - Tristan Ogilvie - 8 / 10

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

INVEN - Soojin Kim - Korean - 8.5 / 10

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

Kakuchopurei - Jonathan Leo - 80 / 100

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

Kotaku - Claire Jackson - Unscored

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

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

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

Metro GameCentral - GameCentral - 5 / 10

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

MondoXbox - Giuseppe Genga - Italian - 9.5 / 10

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

New Game Network - Alex Varankou - 70 / 100

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

Nexus Hub - Sam Aberdeen - 8 / 10

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

One More Game - Chris Garcia - 9 / 10

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

Oyungezer Online - Onur Kaya - Turkish - 8 / 10

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

PC Gamer - Robin Valentine - 58 / 100

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

PCGamesN - Cheri Faulkner - 9 / 10

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

Pixel Arts - Danial Dehghani - Persian - 9 / 10

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

Polygon - Yussef Cole - Unscored

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

Press Start - Brodie Gibbons - 9 / 10

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

Rectify Gaming - Tyler Nienburg - 10 / 10

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

Rock, Paper, Shotgun - Rick Lane - Unscored

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

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

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

Saudi Gamer - Arabic - 10 / 10

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

Seasoned Gaming - Ainsley Bowden - 9 / 10

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

Shacknews - TJ Denzer - 9 / 10

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

Slant Magazine - Justin Clark - 3.5 / 5

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

Spaziogames - Gianluca Arena - Italian - 7.6 / 10

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

Stevivor - Jay Ball - 9.5 / 10

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

TechRaptor - Robert Scarpinito - 7.5 / 10

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

The Escapist - Unscored

Video Review - Quote not available

The Outerhaven Productions - Jordan Andow - 5 / 5

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

TheSixthAxis - Dominic Leighton - Unscored

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

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

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

Too Much Gaming - Carlos Hernandez - 5 / 5

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

TrueAchievements - Sean Carey - 9 / 10

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

TrueGaming - عمر العمودي - Arabic - 8 / 10

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

VideoGamer - Tom Bardwell - 9 / 10

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

WellPlayed - James Wood - 6 / 10

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

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

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

Xbox Achievements - Dan Webb - 90%

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

XboxEra - Jon Clarke - 10 / 10

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

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

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