Went to a diner with my mom in my high pop east coast state. Your typical diner here, plays catchy 80s music (“take on me”) and has a huge menu, though this one was run by Russians rather than the usual Greeks. When we went over to our booth two nice old Italian men said hi, which is already unusual for where I live, but when I sat down I learned he was a sitting congressman. Not state, real congress. Just an old Italian politician hanging out with his buddy over coffee and cake, saying hi to his constituents as they walk in. A relic of a bygone era and he looked the part. Later a sheriff and old lady stood at the table, the old lady complaining her political spiel; I won’t spoil the story by mentioning her party but it was clearly not the same aisle. But no drama, no stress here, they listened to her story and she drove off in her car with her litany of quote bumper stickers.
Just some nice small town vibes I found in my dense, high pop state. Americana lives on. Even visited an old comic book store afterward for old times sake

Price dropped on these Ancient Greek Silver and Bronze coins. All guaranteed authentic. Collected from reputable European auctions and websites. Listing here for what I paid for it or under. Will be shipped by tomorrow or Thursday. Feel free to message with questions. All prices below vcoins, and any other sites. Venmo, zelle, ppff. Click the mod comment to see my 100+ feedback here, cheers!
Silver Staters https://imgur.com/a/jL3CP3G
Alexander the Great Tetradrachm $210
Pegasus Stater from Akarnania (Colony of Corinth) $350
Gela Didrachm featuring Man Bull (river god) $440
Smaller Silver Greek Coins https://imgur.com/a/xBHOF1D
Triobol from Metapontum, featuring a wheat stalk and head of Apollo $45
Mysia Drachm Gorgon Head $28
Caria Lion Tetartemorion $9
Bronze Greek Coins https://imgur.com/a/FMNQ7AI
Bronze Heiron II from Sicily featuring Poseidon and his Trident $35
Bronze Kyme Prancing Horse and Amazon Warrior $20
Bronze Antiochos VI on Orontes Elephant (Seleukid Kingdom) $30
Bronze Troas under Gallienus featuring Horse $25

I posted on here a couple days ago sharing that I wish this sub was more into actual onomastics. Many people in the comments shared my sentiment but I was also told by many to be the change I want to see. This is my attempt at that 😊.
Here’s a sneak peak into my notes app. All the names I can think of that derive from or share roots with the Hebrew male name ‘Yochanan’. The meaning "God is gracious." This ancient name has given rise to a diverse array of beautiful variations across different cultures and languages, for both males and females. Let's explore as many of them as we can!
Male Variations:
John - The classic English form, widely used in many English-speaking countries.
Johannes - A formal and elegant variant found in German, Dutch, Scandinavian, and other European cultures.
Juan - The Spanish version, common throughout Spain and Latin America.
Jean - The French adaptation, pronounced with a soft "J" sound.
Giovanni - The melodious Italian version, often associated with historical and cultural figures.
Johann - Another German variant, frequently seen in Central Europe.
Ivan - The Slavic take on Yochanan, popular in Russia, Ukraine, and other Slavic countries.
Ioan - The Romanian and Welsh version, each with its unique pronunciation.
Jan - Used in Dutch, Polish, Czech, and Scandinavian languages, a simple yet strong variant.
Evan - The Welsh form, which has gained popularity in English-speaking countries as well.
Hans - A diminutive form of Johannes, widely used in Germany and Scandinavia.
Hannes - A short and sweet version, popular in Scandinavia and German-speaking countries.
Sean - The Irish adaptation, reflecting the unique linguistic flair of the Irish language.
Shane - An Anglicized version of Sean, common in English-speaking countries.
Jonas - A variant used in several languages, including German, Lithuanian, and Scandinavian countries.
Johan - A simplified version of Johannes, used in many European countries.
Gianni - An affectionate diminutive of Giovanni, frequently heard in Italy.
Yannis - The Greek variant
Ioannis - The formal Greek form, often used in official contexts.
Iwan - A Welsh and Polish version, similar yet distinct.
Eoin - Another Irish version, pronounced similarly to Owen.
Iain - The Scottish Gaelic form, adding a Celtic twist.
Eoghan - An Irish variant, often Anglicized to Owen.
Johannus - A Latinized form, used historically and in ecclesiastical contexts.
Juhani - The Finnish variant
Juha - A shorter Finnish form of Juhani.
Johan - Common in Scandinavian countries as a simpler form of Johannes.
Jón - The Icelandic and Faroese variant.
Janek - A diminutive form used in Poland.
João - The Portuguese version, common in Portugal and Brazil.
Juanito - A diminutive and affectionate form used in Spanish-speaking regions.
Giovannino - An affectionate Italian diminutive of Giovanni.
Yochanan - The original Hebrew form, still somewhat used in Jewish communities.
Hovhannes - The Armenian version, reflecting the rich heritage of Armenia.
Yehohanan - Another Hebrew variant, with a slightly different pronunciation.
Iohannes - The Latin version, used in historical texts and ecclesiastical contexts.
Janusz - A Polish variant, adding a Slavic twist.
Juozas - The Lithuanian variant, common in Lithuania.
Jovan - A South Slavic variant, used in Serbia, Montenegro, and Macedonia.
Joona - A Finnish form, slightly different from Juhani.
Jānis - The Latvian variant, reflecting the unique Latvian language.
Ivano - An Italian variant, particularly used in Southern Italy.
Jani - A Hungarian form, short and sweet.
Yann - A Breton variant, popular in Brittany, France.
Juhana - Another Finnish variant, used less commonly.
Juhános - A Hungarian form with a unique twist.
Ivo - Used in several European countries, including Italy and Croatia.
Yohannes - An Ethiopian form, reflecting the Amharic language.
Juhász - A Hungarian occupational surname derived from the name.
Johni - A colloquial English variant, often used informally.
Chananya- Another Hebrew variant in which the prefix has been moved to the suffix position.
Female Variations:
Jane - The classic English female form.
Joan - An older English form, also found in Catalan.
Jean - Used as a female name in Scotland and English-speaking countries.
Joanna - An elegant English form, also common in Polish and other languages.
Johanna - A formal version used in many European countries.
Giovanna - The beautiful Italian variant.
Ivana/Ivanka - The feminine form of Ivan, used in Slavic countries.
Juana - The Spanish female form.
Juanita - A diminutive and affectionate Spanish form.
Siobhán - The Irish Gaelic form, pronounced "shiv-AWN."
Shawn - A modern English variant, sometimes used for girls.
Shawna - A feminine form of Shawn.
Joanne - A combination of Jo and Anne, popular in English-speaking countries.
Joanina - A Portuguese diminutive form.
Jovana - A South Slavic female variant.
Jovanka - Another South Slavic variant, adding a diminutive suffix.
Zhanna - The Russian and Bulgarian form.
Jana - Used in many European countries, including Czech Republic, Slovakia, and Germany.
Janka - A diminutive form used in Slovakia and Poland.
Janina - Used in Poland and Lithuania.
Johanne - A French female variant.
Ioana - The Romanian female form.
Yana - A diminutive form used in various Slavic languages.
Vania - A Bulgarian and Russian diminutive form.
Gianna - A popular Italian diminutive form.
Hannah* - While it has a slightly different biblical origin, the root of the word is the same.
Annie/Anne/Anna* - A diminutive of Chana, related through its meaning and use.
Janice - A modern English variant.
Janet - Another English diminutive form.
Janelle - A modern elaboration of Jane.
Johnetta - An English variant combining John with a feminine suffix.
Jeanette- A French diminutive from.
*Yochanan means G-d is Gracious. The ‘Yo-‘ prefix relates to G-d. ‘Chanan’ therefore is the masculine version of ‘Chana’, meaning grace. Chana is where we get Hannah, Anne etc.
I hope you enjoyed and I look forward to making more posts like these in the future! Also I apologise if I got any of the above wrong- I’m by no means an expert I just really like names!
Feel free to share your favourites or comment any I missed!

Inscriptions made by sailors wishing for safe voyages in ancient Greece often included the words eúploia ‘good sailing / fair voyage’ or eutukhía ‘good luck’ and variants. Thus, the roughly 2,000-year-old inscription cut into a cliff on the desert islet of Vryonisi in Eastern Crete which contains euplous ‘good sailing’ (an adj., not a noun) should be easily regarded as another example. However, Martín González takes it as a name (since some people were named Euplous) because there is “a crucial obstacle: there is no parallel for the use of the adjective eúplous, instead of the ubiquitous substantive eúploia, among the related inscriptions”. Now, many words known from inscriptions only appear once, yet they still exist. Since most inscriptions were probably lost, it is not odd that, even if many of this type once existed, only one (or none) of its kind might now remain. For instance, if only 20 welcome mats remained 2,000 years in the future, how many would have ‘welcome’ vs. ‘we welcome you’? If only one verb remained, would some future linguist say it was impossible because “there is no parallel for the use of the verb welcome, instead of the ubiquitous interjection”? I see no reason to take this as evidence against the obvious. For her reading:
​
Euthu-
timos
Khrusip-
pos
[dolphin]
Nikanoros
euplous
​
I would translate it, “Euthutimos (and) Khrusippos (wish) a fair voyage for Nikanōr”. This would be a very simple and undestandable expression of good wishes, whatever the frequency of one of the words.
​
​
This still leaves the question of the meaning of the carving of the dolphin (see image in the link below). It is directly among the words, not above or below, so it’s not certain that it is merely an addition used because dolphins were said to save sailors in need (Apollo’s connection with dolphins is probably folk etymology, really from Delphi). It seems like it might be homophone used in a rebus, since the Greek word for ‘dolphin’ was delphī́s (from *gWelbhiHn-s, derived from délphax ‘pig’, formerly ‘*young animal / piglet’ < delphús ‘womb’, probably related to Go. kalbo, E. calf, and maybe also E. whelp) it would start with the same syllable as :
​
*(e)gWela > Mac. izéla ‘good luck’, G. bále ‘oh that it were so!’
​
Though this alone is possible, there is more to my idea. It is possible that the entire pronunciation of ‘dolphin’ in Crete might have additional meaning. The origin of *(e)gWela is not clear, but it greatly resembles
​
*gWhel()- ‘wish / want / will / be/make willing’> OCS želja ‘wish’, ON gilja ‘allure/entice/seduce/beguile’, G. (e)thélō ‘be willing’, (e)thelontḗn ‘voluntarily’
​
Not only is the meaning the same, but the optional e- matches optional 0- vs. i- in Macedonian (which might come from *gWhelH1- > *H1gWhel-). The difference in *gWh vs. *gW could come from a dialect with PIE *gh > g, etc. (like Macedonian). Such variation is seen on Crete (G. dáptēs ‘eater / bloodsucker (of gnats)’, Cretan thápta, Polyrrhenian látta ‘fly’), so the needed features all exist there. Also, words like (e)thelontḗn often appear in inscriptions as formal parts of various requests or sacrifices. These supposedly show that the deed was done ‘voluntarily’ or ‘of one’s own free will’, but some might also retain the older meaning ‘wishing (that it comes to pass / that it is pleasing (to the gods)’, etc. This allows further comparison to be made for *(e)gWhelont-s ‘wishing’ and *gWelbhiHn-s ‘dolphin’. Since these words are already quite close (with regular *-nts > *-ns), and I suspect that the changes in *(e)gWela > Mac. izéla were matched in parts of Crete, other changes in dialects might have made them even closer. Some have alternation of ph / w, like *swe-es > spheîs ‘they / themselves’; the centaur Márphsos & the satyr Marsúas (Whalen 2024a). This could produce *gWelon-s and *gWelwi:n-s, possibly with later *on > *un (which might be supported by the lack of Linear A syllables with Co vs. many with Cu, see Chiapello) and *wi > *wu (then *Cwu > *Cu). With this alone, *gWelun-s and *gWelu:n-s would be nearly identical, and maybe exactly the same if *-onts became *-o:ns first (attested as -ōn in the nominative for nt-stems). I would ask for all such images to be examined carefully, and considered in the context of known changes in Greek dialects, even down to Cretan Hieroglyphs (Whalen 2024b). Younger’s claim that the cat’s head symbol stood for MA (compared to Linear A and B signs for the syllable MA) is supposedly imiation of “meow”, but many IE words for ‘cat’ and other noisy animals come from *maH2- ‘bleat / bellow / meow’ (Skt. mārjārá- ‘cat’, mārjāraka- ‘cat / peacock’, mayū́ra- ‘peacock’, māyu- ‘bleating/etc’, mayú- ‘monkey?/antelope’), and it would not be possible to name all symbols after the sounds made by the things represented (like mountains, stocks). It seems many of these symbols start with the sounds found in the Greek words for them, and continuing to examine the evidence could lead to proof of their Greek origin.
​
​
Chiapello, Duccio (2024) The Linear A inscribed idol of Roccacasale: authentic, forgery… or both? An analysis based on the “Minoan Greek” hypothesis
https://www.academia.edu/112932884
​
Martín González, Elena (2017) A Sailors' Inscription Revisited
https://www.academia.edu/33135646
​
Whalen, Sean (2024a) Linear B *79, e-wi-su-zo-ko, e-wi-su-79-ko
https://www.academia.edu/114741659
​
Whalen, Sean (2024b) The X’s and O’s of Cretan Hieroglyphic (Draft)
https://www.academia.edu/114973571
​
Younger, John (2023) Linear A Texts: Homepage
http://people.ku.edu/~jyoungeLinearA/
​

In recent years, the low carb diet has gained immense popularity for its effectiveness in weight management and overall health improvement. Whether you are a seasoned low carb dieter or just starting, having a well-curated list of the best low carb snacks and a comprehensive low carb diet grocery list is essential. This article will guide you through the top low carb snacks and a detailed grocery list to make your shopping experience seamless and efficient.

Best Low Carb Snacks

When following a low carb diet, finding snacks that are both delicious and low in carbohydrates can be challenging. Here are some of the best low carb snacks that you can enjoy guilt-free:

1. Nuts and Seeds

Nuts and seeds are excellent low carb snacks, packed with healthy fats, protein, and fiber. Almonds, walnuts, chia seeds, and flaxseeds are particularly low in carbs. They are perfect for a quick snack on the go or to add a crunch to your salads and yogurt.

2. Cheese

Cheese is a fantastic low carb snack that offers a good amount of protein and calcium. Varieties like cheddar, mozzarella, and Swiss cheese are great options. String cheese or cheese slices are convenient for snacking between meals.

3. Avocado

Avocado is not only low in carbs but also rich in healthy fats and fiber. You can enjoy avocado as a spread, in salads, or simply on its own with a sprinkle of salt and pepper. Guacamole with raw veggies is also a delicious low carb snack option.

4. Hard-Boiled Eggs

Hard-boiled eggs are a protein-packed snack that can keep you full and satisfied. They are easy to prepare and can be seasoned with various spices to add flavor. Keep a few hard-boiled eggs in your fridge for a quick and nutritious snack.

5. Greek Yogurt

Opt for plain, full-fat Greek yogurt, which is lower in carbs compared to flavored varieties. Greek yogurt is high in protein and can be enhanced with a handful of berries or a sprinkle of nuts for added taste and texture.

6. Vegetable Sticks with Hummus

Vegetables like cucumber, bell peppers, and celery are low in carbs and make great dippers for hummus. Hummus provides healthy fats and protein, making it a balanced and satisfying snack.

7. Berries

While most fruits are high in carbs, berries such as strawberries, blueberries, and raspberries are relatively low in carbs. They are rich in antioxidants and vitamins, making them a healthy sweet treat.

8. Jerky

Beef jerky, turkey jerky, or any other meat jerky is a high-protein, low-carb snack. Choose varieties with no added sugars or preservatives for a healthier option.

9. Olives

Olives are a savory snack that is low in carbs and high in healthy fats. They are also rich in antioxidants and can be enjoyed on their own or added to salads and dishes.

10. Dark Chocolate

For those with a sweet tooth, dark chocolate with at least 70% cocoa content is a low carb snack option. It is packed with antioxidants and can be enjoyed in moderation. Read More

Best Low Carb Snacks #Low Carb Diet Grocery List #low carb diet

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."

at this point, nobody is surprised to hear about how the small businesses in lawrence pretend to be something that they’re not. anyone who has worked at a downtown/downtown adjacent business can tell you how different things are behind the scenes. every business has its own version of service culture. people tend to hang out where they work and/or with their coworkers. restaurants usually cultivate unhealthy drinking habits with post-work drink traditions. coffee shops and bakeries that underpay employees, using tips to compensate an hourly wage. bars that encourage unhealthy drinking and drug habits, exploit women who work for them, and have harassment or assault allegations. retail shops that buy cheap unethically produced products and sell them as “handmade”, then force the employees to be salespeople as an excuse to not pay them a proper hourly wage. i think it’s clear to many that it’s nearly impossible to have a completely ethical business practice. although, there’s a certain bad taste that comes with the facade that lawrence small businesses create a positive community. most people that you talk to can tell you how they’ve lost hope for a better work environment through working at business after business where the employers don’t respect or value those that work for them. it’s a special kind of exploitation when you are sold the idea that a smaller businesses can teach you skills and give you freedom and experience that corporate places can’t/won’t. there are very few businesses i feel comfortable supporting anymore. i can’t recommend any of the businesses i’m listing below, primarily because of the terrible ownership and treatment of their employees. (focusing mostly on the downtown area) - Javabreak - 715 - Basil Leaf Cafe - Wheatfields - Great Harvest - Cellar Door Cafe (& Decade when they were still open, same ownership) - Sunflower Outdoor & Bike Shop - Sylas & Maddy’s - ATC - Wildman - The Mad Greek - Minsky’s - The Striped Cow/Third Planet (same ownership) - Leroy’s - The Burgerstand - Merchants - Bon Bon/Taco Zone (same ownership since TZ was bought out) - Henry’s/Grounded (same ownership) - Wildside - Logie’s (probably doesn’t even need to be said, but i’ll include it just because) - Milton’s - Culinaria - Lawrence Beer Company - Wine & Dive - 1900 BarkeBarker on Mass/Taylor’s Donuts (same ownership) - Jazzhaus - McClain’s - Limestone - Louise’s/Big Mill (same ownership) I’m sure there are more places I’m missing, feel free to list them below

I'm trying to search for Ancient Greek or Ancient Roman musics of hymns, poetry and plays; I can't find for they aren't researched much, I want to know if there are websites or books that I can find notations with lyrics for this job. I'd be very happy if anyone helps it, I am doing this for future Classics researchment.

I'm trying to search for Ancient Greek musics of hymns, poetry and plays; I can't find for they aren't researched much, I want to know if there are websites or books that I can find notations with lyrics for this job. I'd be very happy if anyone helps it, I am doing this for future Classics researchment.

I know that for example in Japan, they are even installing a barrier to obstruct the view of Mt. Fuji, because the nearby towns are starting to get fed up with an overflow of tourists who stop at one particular spot just to take pictures of the mountain. That is not the only issue with the overflow of tourists within their country, in Kyoto specifically, it is way too crowded. What annoys me the most is about them taking pictures of Geisha everywhere, I get it they want to snap a picture, but keep in mind that they are humans and need some space. (They are now issuing a ¥10000 fine for violators.)
During the time Logan Paul visited Japan was the worst, as he went to the suicide forest and recorded footage of a DEAD BODY then proceed to laugh, he took the video down after receiving a ton of backlash. He's not the only one, Johnny Somali also did some shit that landed him in jail, such as entering a construction site, using a random guests room number to get himself 'free' breakfast without realizing that guest will be billed upon them checking out, all due to his stupid actions. Streamers like him who visit Japan are just dumb, taking advantage of others.
Japan is now enforcing stricter rules regarding filming in public, there are even businesses that forbid both video and photography, so no streaming IRL. In general, Japanese are fed up and pissed off about tourists who disrespect their customs or completely disregard their culture, there are even foreigners who throw trash on the floor (due to Japan not having bins everywhere, even in public, they only exist at designated areas) so you have no choice but to carry your trash with you. They even throw trash not from the konbini into their bins!
There are even sacred sites in Japan (like shrines or temples) that have been vandalized, desecrated all because of tourist interaction, which is sad because it’s damaged, losing the integrity on why it’s important. There was a bamboo forest in which someone CARVED their initials on it, like “Don’t destroy the bamboo!” It pisses me off that they desecrate a site you are NOT meant to be treading on at all.
In hindsight:

• Does Greece have an over tourism problem? If so, how bad is it?
• Are there any Greek sacred spots or monuments that have been desecrated by tourists?
• Are there instances of behaviors coming from tourists that annoy Greek people to the point the authorities are cracking down on bad behavior imposing harsher penalties or deportation?
• Do you know any sites that often get photographed way too often that people are considering on creating a barricade to obstruct the view of said place or site?

We wrote up an article about how to break away from sugar addiction. It is insane how much sugar we all consume.
Here is a small part of the article, full article is here. Hope it gets you some value.

Steps to Break Free from Sugar Addiction

Read food labels: Hidden sugars lurk within numerous processed food items, masquerading under a variety of aliases such as sucrose, high fructose corn syrup, and dextrose. Developing the skill of scrutinizing food labels equips individuals to uncover these covert sources of sweetness, empowering them to make wiser decisions during their grocery trips.
Set Clear Goals: The first step in overcoming sugar addiction is to set clear and achievable goals. Whether you aim to eliminate sugar entirely from your diet or gradually reduce your intake, having a specific target can help you stay motivated and focused.
Identify Triggers: Understanding what triggers your sugar cravings is essential for developing effective coping strategies. Whether it’s stress, boredom, or certain social situations, being aware of your triggers can help you anticipate cravings and find healthier ways to cope.
Opt for Whole Foods: One of the best ways to reduce sugar intake is to focus on whole, unprocessed foods. Fresh fruits, vegetables, lean proteins, and entire grains provide essential nutrients without the added sugars found in many processed foods.
Find Healthy Alternatives: When cravings strike, avoid reaching for sugary snacks. Instead, experiment with healthier alternatives. Fresh fruit, Greek yogurt, nuts, and dark chocolate can satisfy your sweet tooth while providing nutrients and antioxidants.

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

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

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

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

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

Howdy y'all. I'm running a homebrew setting that features the Olympian gods as the main divine powers. As such, I decided to lift the Piety rules from Mythic Odysseys of Theros and write up some piety rewards for each god. My initial assumption was that the rules would encourage the PCs to be connected to their gods in some meaningful way and fit the theme of a Greek Epic. In practice, I'm running into some problems. Here's some context:

• Per the rules from the book, the party should be gaining 1 piety per session just by virtue of "showing up"
  • This is to make sure that all the party members slowly increase their power at the various tiers of piety (3/10/25/50) in the course of an adventure.
• The party can spend piety to gain inspiration and have been doing so pretty regularly, which seriously buffs the party's overall ability to land hits, success on saves, and overall makes a lot of encounters a lot easier.
  • I can balance this out by just throwing harder monsters in front of the party, but I don't love it.
• The one player who chose iconoclast (they don't gain piety) has been noticeably weaker because they don't get that piety inspiration every session and only get a free 1st level spell (at 5th level, they'll get a 3rd level spell, but the rest of the party will also be getting additional spells soon enough, too.)
  • I decided to give the iconoclast character the ability to re-roll one attack/save/check once per day to keep up with the rest of the party, so it's temporarily solved, but still annoying design.

Here's the problem:
The piety rules are not actively encouraging the characters to care about their god.

• They can get an additional point of piety for something really special for their deity, but because they're already getting 1 per session, there's not a whole lot of motivation to do that
• So long as they don't go out of their way to do something to offend their god, they just continue to gain piety.
• If I restrict piety gain to only when they do something special for their god, piety becomes a much scarcer resource but there could be months that go by before certain characters have chances to please their god.
  • The PCs might never get their really cool abilities because they just never got a chance to gain enough piety
  • (Not a whole lot of chances to please Aphrodite while crawling through a dungeon or to honor the wild god, Pan, while you're solving a murder mystery in the city.)
• I want the PCs to be motivated to come up with their own way to connect with and care about their patron god, but I feel like the piety system isn't doing that.

Has anyone else run into these problems with the piety system? Am I missing something with how I'm running this? Are there some alternative systems that you've used to encourage PCs to connect with their gods?
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At my worst I would take 3-5 double strength laxatives in a day, well over the recommended daily dose and this went on for about a year.
When I quit cold turkey, it was hard to restore my digestive health, but with dietary and behavioral changes, after about a week of initial bloating and constipation, I now can pass bowel movements daily and with no issue.
Disclaimer: I'm in no way endorsing this as a save all solution to lax abuse, however the methods I outline may be a starting point for harm reduction and recovery
In a day, my diet consists of:

• One morning intake of two probiotic gummies, two magnesium gummies and two fibre gummies
• One sugar free Kombucha throughout the day
• A capsule of digestive enzymes before each meal
• One low fat Greek yoghurt after dinner
• One evening intake of two probiotic gummies, two magnesium gummies and two fibre gummies after dinner

And wherever I can, I incorporate fermented foods high in probiotics with my meals, such as sauerkraut and kimchi, along with eating foods high in fibre to go with the amount of probiotics I'm consuming.
As for behavioural changes, I made sure to chew thoroughly and slowly to reduce any extra gas bloating.
The first two weeks are uncomfortable and tough and it's tempting to pop a lax to make it all go away, but instead, go for Simethicone pills to help with the bloating. It won't mess up your digestive system and as a bonus, it makes your breath smell minty!
I hope that in writing this, I can help other people in a similar situation. You can do it! I believe in you.

I hope this is the right place to put this - my character will be soon levelling to level 9, and with 6 levels in sorcerer and 2 already in bard I need to choose a bard subclass.
We have been playing in the Odyssey of the Dragonlords setting - Arcanum World's campaign - for about 3 and a half years now. For those unfamiliar, it is an Ancient Greek-themed world that sees you become a dragon rider and fight some evil gods - classic DnD stuff.
The party consists of a chronomancy wizard (broken as hell), a gorgon oath of ancients paladin, and my character: a shadow sorcerer changeling with a few levels in bard. Our DM has been incredible at facilitating where we want our characters to go, and I have managed to make my sorcerebard a very effective gish. My character has a solid AC because of some mithril armour (boosted by Haste and shield), an amulet of health, and a dancing sword (bonus action attack). We replaced the hound of ill omen level 6 sorcerer feature with the hexblades charisma attack/ damage feature so my melee skills are pretty good. This combined with the amulet of health and AC means I can fight effectively in the centre of battle and hold my own with the paladin: throwing out fireballs and bonus action slicing people with th dancing sword.
If I was power gaming I would have levelled into paladin, got some smites and called it a day. However, my character is in love with the goddess of music and so bard made a lot of thematic sense, and also gave me access to the very powerful 'boreal harp' which has access to control weather, conjure animals, levitate etc.
With the upcoming level up, I am going to need to choose a bard subclass, and I am completely stumped. The option I have been thinking about for a while is College of Swords (my DM has agreed to tweak this so the flourishes can be used a number of times equal to my proficiency bonus rather than only use bardic inspiration). This change would make it way more viable, but I am worried about it becoming less useful down the line. Another option we discussed is College of Creation, which may be more useful for allies but cut down on how much damage I can do. College of Valor seems really boring and kind of useless. College of Eloquence would be cool but would end up not really fitting into the party aesthetic - it would end up with a bit too much main-character energy.
I am open to homebrew if it makes sense; we are playing to have fun, so as long as it seems engaging and interesting, we tend to run with it. The shadow magic of my character has flavoured all aspects of their magic: fireballs are black flame, misty step has me stepping into the shadows, inflict wounds is some form of shadowy poison, etc. If I do go with swords, how could I flavour it to feel in line with the character's darker magic as well as the Greek setting?
The intention is to resume levelling sorcerer after this level so I really only need to worry about level 3 bard characteristics. Any advice would be amazing.

"Why Did Jesus Die on the Cross?"

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

Why Penal Substitution Is Unbiblical

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

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

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

The Content of Paul's Gospel Message

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

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

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

Justification, and the "New" Perspective on Paul

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

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

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

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.

Hello.
My name is Flaviu E. Hongu. Some people including myself choose to spell my name as Flavius instead. I am what most would call a white dude. I was born in Romania in a fully Romanian family, and was raised by said Romanian family.
I would like to address specifically the people who use the term "cultural appropriation". There has not been even one case I've ever seen of someone saying cultural appropriation that wasn't a mistake. In every occasion I saw people partaking in and appreciating culture, not stealing it.
There have been cases where the person saying cultural appropriation has been actively racist to multiple groups of people, like when someone accused a young girl of mocking a culture for making funny faces while dancing their local dance. Well it turns out those "funny faces" that you criticized are actually part of the dance itself, and you made a fool of yourself and everyone who says cultural appropriation because you've just insulted their local dance.
I swear to god this is infuriating. Culture has always been meant to be shared, appreciated, mixed and changed. That's the whole point of culture.
My own Romanian culture is a mix of Roman (as the name suggests), Greek, Slavic, and also a huge chunk of Dacian which is the native tribe that inhabited the land before Romans conquered it.
By existing as a Romanian dude, am I fucking appropriating the Romans' culture for speaking my literal native Romanian language which comes from the Roman language? Am I appropriating the Slavs for being part of an Orthodox culture and using words such as slavă, ispravă, duhu sfânt, and slobozie? Am I appropriating the Slavs when the only word for clock in Romanian is ceas, which comes from the Slavic word for time? Should I still be speaking the Dacian language that the Romans eradicated and wearing only robes and herding sheep because I'm a native Romanian?
Or I'll do you one better, I live in Spain now, and I've been living here for most of my life, so I developed an appreciation for their culture. I think lentejas, garbanzos, and cocido are some of the most delicious shit humans have ever invented. Am I appropriating their culture when I unironocallh cook those dishes because I LOVE them? Or am I appropriating their culture whenever I speak their language, enjoy their music, read and quote their books, sing their poems and dance their dances???
The only way something can be qualified as cultural appropriation is if some group of people begins to do something that was developed by another group of people and then forbid and ban the original creators of thst practice from doing the thing.
I've never seen that happen in real life, and I don't thing it's even possible. If you ever feel like saying cultural appropriation, I think you mean cultural appreciation.
If I ever visit the US and see someone who isn't Romanian wearing my country's cultural clothes I'll LOVE IT. And if I walk down the street and see a dude wearing Adidas, doing the balkaner sitting, holding a bottle of home made țuică, going like "BA FRATE CE FACI MĂ?!" with a thick US accent and then he yells "SUKA BLYAT OH KURWA" and starts doing the Rasputin dance I will die of laughter right then and there, I will then join the dude in his comedic act, I will provide some original, real balkaner energy and will drink the țuică with him because it's funny as shit and I love that he even knows that much about my culture.
That's not appropriation. No one can appropriate my culture because no one can stop me from doing it and if they do it, I'll love it.
However what I did observe was that this "accusing people of cultural appropriation" thing is only ever done to white people. Like according to their logic a Kenyan cannot dance tango, and a Chinese can't play the piano, but no! They only ever target white people, and sometimes mock and disrespect the culture the white people are APPRECIATING out of sheer hatred for whites and full on ignorance.
As a matter of fact, according to their logic, if you aren't white you cannot and should not be wearing sneakers, pants, shirts, t-shirts, or glasses, you should not be using the English language, you shouldn't use cars because they were invented by a German, you shouldn't even be using phones and computers because it's a white cultural aspect.
Fucking bullshit I tell you.
The reality is that these people never ever target someone who is not white or someone partaking in other white culture. And I've heard them say things like white people have no culture which is why they feel the need to steal other's. Which is the most stupid and ignorant and even offensive thing I've heard. As a Romanian dude with a super rich culture, who also knows about the culture of other balkaners and the other countries surrounding my own, which are all inhabited by whites with a very very different culture, I feel invalidated. Do they think US culture is the only white culture? And also, they're even more ignorant than that because saying white people have no culture is like saying Americans don't have an accent. You don't hear the accent because it's YOUR accent and to YOU it doesn't sound different. And same as that, they don't consider American English culture a real culture because they see it every day.
People like that are actually just racists and hateful of white people and are using cultural appropriation as an excuse to insult white people and harass them for no reason at all. They are no better than the white racists, and their claims of white people having no culture is insulting and invalidating to the thousands of cultures that white people do have, all different from each other.
So, if you're the kind of person to say cultural appropriation, don't ever say that shit again, go ahead and stuff your stinky mouth with sarmale that you cooked yourself, go and put on an ie, go and dance a good horă and go put an entire oină bat in your ass.