#monkey king reigns supreme

[roxxywolf-multiversa]

Sketch-like Netflix monkey king fanart.

Just sketches of monkey king and lin.

[maximeloonatic]

Now that this movie fandom is slowy forming and rooting for the creators, can we use this hashtag?

#MonkeyKingReignsSupreme

[rebeccatmntlover6548]

@craftydreamtree has made a monkey king discord for fans of the monkey king movie from Netflix

Interested ? heres the invite https://discord.gg/UMdQ4EcF

If it doesn’t work ask me or crafty for the invite

[inthecrevicesofmycrispytoes]

Imagine if someone texted you about your weird little interest on your sideblog dedicated to said weird little interest

[nobully]

❛ it’s my fault, isn’t it? ❜

𝐯𝐚𝐫𝐢𝐨𝐮𝐬 𝐪𝐮𝐞𝐬𝐭𝐢𝐨𝐧 𝐬𝐞𝐧𝐭𝐞𝐧𝐜𝐞 𝐬𝐭𝐚𝐫𝐭𝐞𝐫𝐬.

'Sigh....yes.'

'It's not the end of the world, though.'

Wang Yi pats Sun on the head before surveying the damage in the alleyway. There's a bunch of dudes knocked out and quite a bit of blood on the ground, but it looks like everyone's still breathing at least.

Honestly, he should've expected something like this to happen eventually, what with Sun always sporting weird cuts and talking about his fighting skills on and off. Point was: if you hit people too hard, they would come hitting you back.

Of course, if you were Sun, you ended up beating them all half to death before they got a scratch on you. The Monkey King reigns supreme, he guessed.

'Tell you what,' Wang Yi suggests as he drags Sun further away from his mess. 'I'll clean this up for you and you promise to lay low for a few weeks. Like, stop doing whatever shady stuff you did to get targeted by lowlives in the first place, all right? And don't go to the seedier areas of town.'

He should probably do that too, but ehhh that can come later.

It isn't until he makes Sun nods to agree that Wang Yi stalks to the closest man still conscious, lifts him up by the scalp, and stares into his eyes.

'Hi,' Wang Yi starts pleasantly enough as his pupils glow red. 'You just lost your mind and got your subordinates all beaten up. You should probably make sure they remember who's actually responsible.'

The man blinks groggily before he nods. Wang Yi lets go and watches as he starts stumbling towards the other victims, kicking them awake and shouting about how he'd teach them a lesson again if they got smart with him.

Good enough. He couldn't make them forget what happened, but some misdirection here and there could bury the true culprit, probably. He strolls back to Sun and swings an arm over his shoulder, guiding the guy out into the streets as the sounds of fighting continue behind them.

'Anyways, let's go check on your injuries before getting some food. I'm starving.'

[nenvyv]

Unveiling the tips and tricks of being a successful social media manager:

Social Media Manager (SMM)… sounds fun right?

I mean, we all hang around on social media the whole day anyway - posting life updates and sharing around funny, often meaningless, things  - why not get paid for it, RIGHT!

WRONG - Being a SMM actually feels a bit more like juggling flaming swords while riding a unicycle…

Hectic… I know… but very close to reality.

Don't get me wrong - social media management does have it's upsides and can be fun and rewarding - but trying to keep up with the ever-changing landscape of social media and keeping your clients happy while doing so, can be hard.

That is why I am writing this blog post - to provide you with the tips and tricks I have learned throughout my journey as a Social Media Manager - tips I've gathered through trail, success and obviously... My errors.

You can call it my purpose in life - making the mistakes, so that you dont have to!

This guide I will assist you to learn how to navigating this thrilling, often chaotic realm with finesse and flair.

So let's dive in, shall we?

What if it is your monkeys, meaning it is in fact your circus?

#1

Well first of all - KEEP CALM AND PLAN!

Planning is my secret weapon and I have used it to slay many "dragons" before.

I rely on planning so much that I've actually recently started sharing my planning techniques and planner layouts on my brand new online store named "BiteMagic" (if you are into digital downloads and planning) You can check out my variety of industry specific planner layouts, as well as a category made specially for al my boss ladies out there (yeah girl... We see you 😉) in store by clicking on the link below 👇

https://bitemagic.etsy.com

Planning brings us peace - because we know what to expect when we have planned our steps and therefore we can RELAX knowing that whatever happens, we've got a plan for it!

#2

Content is King (Or Queen...!)

In the kingdom of social media, content reigns supreme. But not just any content-quality content that engages, educates, and entertains your audience. From witty captions to eye-catching visuals, your content should be a feast for the eyes and minds of your followers.

Bonus points if you can sneak in a cat video or two. 🐱

(#joking! Please don't do that… 😬)

#3

Know Thy Platforms:

Each social media platform is like a different party with its own vibe and guest list. From the bustling streets of Twitter to the polished halls of LinkedIn, understanding the nuances of each platform is key to crafting the perfect social media strategy. So, put on your party hat and get ready to mingle!

Your client will usually tell you what platform they want to use if it's not set up already.

Out of experience, I recommend that you use the platform the client suggests as the main platform (for example: Facebook) and then ad on some secondary platform like Pinterest where you can share pinsyour Facebook page… all roads should eventually then lead to the clients WEBSITE because this is where your client has direct access to their clients who are already interested in the product/services they are providing because of all your strategic content you’ve created. Which means it wil not take much to convert these prospects into loyal paying customers all thanks to your hard work!

No wonder Social Media Managers are so in demand by all kind of industries, right!

#4

Engagement strategies:

Social media is a two-way street. It's not just about broadcasting your message; it's about engaging with your audience, building relationships, and fostering a sense of community. Respond to comments, ask questions, and don't be afraid to show some personality. After all, nobody wants to follow a social media robot.

Pro tip:

DO NOT sell the first chance you get. Nobody likes being sold to… rather engage with the audience like you would with a close friend. Build the “relationship” first. You can read the 8 steps of successful marketing (which is highly recommended) right here:

#5

Analytics:

The magical crystal ball that reveals the secrets of your social media success (or lack thereof).

Dive into your analytics regularly to track your performance, understand what's working (and what's not), and make data-driven decisions. Remember, knowledge is power, and in the world of social media, it's gold.

Inform your client of any concerning factors in the analytics and also what content / actions seem to be working when looking at the stats. Keep in mind what your clients goal are and then refer to the specific metrics that evaluates your current standing in that direction.

Like for example:

Your client wants you to manage his start- up business social media page. His goal is therefore awareness (because people need to know about his product/services before they can purchase/his product services).

So your job is to work on things like his page likes, followers or maybe starts joining local groups - slowly develop an image of the target market that is interested in what your client has to offer and also set the very important foundations in terms of Brand Awareness for your client and their business.

#6

 The Dark Side of Social Media

(dramatic music starts playing in the background…)

Yes, the dark side of social media.

From trolls to algorithm changes that make your head spin, navigating the challenges of social media management isn't always sunshine and rainbows.

I will discuss the dark side and how to not only handle it - but to use it as an advantage, in my next blog post.

But for now:

Time for a small exercise!

(yeah really …. We're going there…) 🤷‍♀️

Grab the closest paper you have lying around right now and write the following in big bold letters:

 “With every challenge comes an opportunity to learn, grow, and become a social media Jedi master.

Now stick that baby in your kitchen, right above your kettle. Let it be a daily reminder that challenges are simply stepping stones to mastery. Practise does make perfect! Embrace each hurdle as a chance to refine your skills, innovate, and emerge stronger.

Bonus tip!

Your working space should be treated like the most important area in the house.

Set clear boundaries with friends and family members (even your cat... If needed) to not disturb you while you are in your working space.

Keep your space clean and organised ALWAYS!

Messy places causes messy minds!

Decorate with a cohesive colour scheme of light pastel colours for your working space.

I recently found some awesome items for my office on SellSA which you can go and check out here:

https://sellsa.co.za/home/affiliate-referral/66337c0dad57b

In the realm of social media management, where the pace is relentless and the landscape ever-shifting, it's crucial to maintain a growth mindset. The ability to adapt, learn, and transform challenges into opportunities is what sets apart the average from the exceptional!

So, as you sip your morning coffee or tea, let that note above your kettle serve as a beacon of resilience and determination. You're not just managing social media; you're crafting experiences, building connections, and shaping digital narratives.

Now go out there and GET IT...

Your journey awaits!

..........................................................................

This post contains affiliate links which means that if you choose to buy any of the products I suggested from the links, I will receive a small commission with no extra cost to you.

[sketching-shark]

why the hell does wukong fight the heavens in a clown suit/makeup is he tryna be the first joker or somethin XD (hence the laugh and mannerisms lol)

Hmmmmm are you referring to how Sun Wukong is presented in the Peking operas, anon? Like here?

If you are, I don't think it's appropriate to refer to the monkey king's outfit or his mannerisms in that context as clownish...I must note that I can't claim much knowledge on the different elements of Peking operas in general and Wukong operas specifically. But I do believe that while there are clown characters in Peking opera, Sun Wukong is never presented as one, and his makeup, outfits, and mannerisms are more meant to convey his nonhuman character (I've read, for example, that the red face markings of rhesus macaques likely inspired the red face paint actors playing Sun Wukong wear!), response to the contempt he receives with a form of monkeyish mockery (as well as pride in himself lol), and his different roles and statuses as he moves through his story . Don't get me wrong, in Peking operas Sun Wukong is still a funny and mischievous character who's impulsive tendencies get him into trouble with heavenly forces (who he also delights in mocking), but the emphasis seems to be more on his competence in getting one over most of his foes through his martial and magical prowess. From what little I know, this is also signaled in his outfits, as with the opera flags which are apparently often meant to convey that a character holds an imperial and/or martial title, hence why opera Sun Wukong doesn't really wear them until he gives himself the title of Great Sage Equal to Heaven.

But going back to another point you raised--and which I've seen some people describe as a general Western misunderstanding of the monkey king's character and ambition--is that I don't think you can genuinely compare the motives and characters of the Joker and Sun Wukong. The general impression that I've been given is that the Joker's main goal is to cause as much chaos as possible, which is, if my reading of Sun Wukong's story is correct, basically the exact opposite of what the monkey king wants. While the first part of Journey to the West does see Sun Wukong go through many different changes, he seems to be always driven by A) A desire to enjoy his life with fruit and friends, B) A desire to make the lives of his fellow monkeys of Mt. Huaguoshan--who he considers his family--as nice and as secure as possible, and C) To gain enough power where everyone, even the gods, have to respect him. I'm working off of the Anthony C. Yu 1977 English translation, but these are elements of the monkey king's character that seem to be emphasized again and again. It's something that I actually feel is made particularly clear during the havoc in heaven arc. After all, when the Buddha finally comes to put a stop to the monkey king's rampage, Sun Wukong specifically tells him that the main goal of all his destruction and warfare against heaven isn't chaos for chaos' sake, but so that he could become the supreme ruler over heaven and earth:

"'I set my mind to live in the Green Jade Sky.

In Divine Mist Hall non should long reside,

For king may follow king in the reign of man. If might is honor, let them yield to me.

Only he is hero who dares to fight and win!'"

And again, after the Buddha tells the monkey king he can't be the new Jade Emperor and to even suggest so is blasphemy:

"'Even if the Jade Emperor had practiced religion from childhood...he should not be allowed to remain here forever. The proverb says, 'Many are the turns of kingship, and next year the turn will be mine!' Tell him to move out at once and hand over the Celestial Palace to me. That'll be the end of the matter. If not, I shall continue to cause disturbances and there'll never be peace!'"

Sun Wukong is a monkey, but it bears to keep in mind that in direct contrast to Western views of monkeys as stupid, they are seen more as trickster figures in Chinese folklore. And Sun Wukong does very much live up to that reputation throughout much of JTTW, with it taking one of many sinister turns when he reveals how willing he is to continue to wage warfare against all of heaven to get the most powerful position. Again, he's not doing this for the sake of "chaos." It's explicitly to make himself a powerful figure that could not only control heaven and earth as he sees fit, but also one that no one would dare mock ever again.

So maybe you could say that there are similarities to the Joker in terms of the white face paint and willingness to violence, but the monkey king at the beginning of his story and throughout the havoc in heaven arc does possess pretty well defined goals that have nothing to do with breaking stuff because he wants chaos.

As always, of course, I need to end this by noting that I'm not Chinese and know next to nothing about Peking operas, so if someone with more information wants to add to this or correct my incorrect assumptions they should definitely feel free to do so!

And finally here's a kind of fun little clip from a Wukong opera of the monkey king hanging out with some of his monkey friends while they talk about his many accomplishments:

[munichasia]

One of the most respected Chinese shrines in Bangkok and Thailand - San Chaopho Suea or Tiger God Shrine. 🇹🇭👋💯📸💛 Greetings and have a fantastic day all. ~~~~ San Chaopho Suea (Sao Chingcha) (Thai: ศาลเจ้าพ่อเสือ (เสาชิงช้า)) or San Chaopho Suea Phra Nakhon (ศาลเจ้าพ่อเสือพระนคร), usually shortened to San Chaopho Suea (ศาลเจ้าพ่อเสือ; simplified Chinese: 打恼路玄天上帝庙; traditional Chinese: 打惱路玄天上帝廟; pinyin: Dǎ nǎo lù xuán tiān shàngdì miào; commonly known in English as Tiger God Shrine) is a Chinese joss house located at 468 Tanao Road, San Chaopho Suea Sub-district, Phra Nakhon District in the old town Bangkok (Rattanakosin Island) near Sao Chingcha (Giant Swing) and Wat Mahannapharam with features the Southern Chinese architectural style. It is the shrine of Chaopho Suea (เจ้าพ่อเสือ; lit: Tiger God), according to the ancient Chinese belief and it is one of the most respected Chinese shrines in Bangkok and Thailand alike Wat Mangkon Kamalawat in Chinatown, especially during the Chinese New Year.This shrine was built in 1834 in the reign of King Nang Klao (Rama III). In the past, it was located on Bamrung Mueang Road but was relocated by the command of King Chulalongkorn (Rama V) to the Tanao Road, the present location. The shrine enshrined statues of Chinese Supreme Being, including the Tiger God (Xuan Tian Shang Di), Lord Guan (God of Honesty), Caishen (God of Fortune), Dai Seng Ya (Monkey God) and Mazu (Goddess of the Sea), which are highly venerated among both Thai and Chinese people. . . #beautifulthailand #discoverthailand #ilovethailand #lostinthailand #thaiculture #thailand_allshot #thailand_ig #thailandgram #thailandinsider #thailandismagic #bangkokspirit #bangkokcityvibes #bangkoktravel #bangkoktrip #bbkk  #cityshots #createxplore #destination_wow #globalwanderer #globetravelgram #happytravels #mustdotravels #mustvisitplace #passporttoearth #reisenistschön #asia_vacations #asiaphotography #asiatour #asiatravels #beautifulseasia (at San Chao Pho Suea) https://www.instagram.com/p/CXsmmNuvi3T/?utm_medium=tumblr

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[roxxywolf-multiversa]

★page 3: the birth of the protagonist and the invisible lil ghost★

[smokeybrand]

Psyren Song

Way back during the silver age of anime in the US, when Toonami was making Dragon Ball Z everyone’s favorite anime and the Shonen genre reigned supreme, there were a lot f contenders to the Big Three crown. Shonen Jump had exploded in relevance due to a sudden influx of US fans and, at the time, there were three major manga that found their way to the top of the charts; BLEACH, Naruto, and One Piece. Now, One Piece was, and is, the undisputed king of manga. It’s incredibly evident that Monkey D. Luffy wears that crown. Motherf*cker has been running since 1996, literally the year after DBZ ended in print form. The stories of the All-Sunny squad are the only misadventures still being told of the original Big Three, threw the insurmountable force that is the Will of D. And the millions upon millions of merchandising sales.

I got to the Gum-gum party late. For me, it was BLEACH. I thought that sh*t was incredible. The art was on point and the narrative was unassailable. I don’t think anyone will fight me if i said that the Substitute Shinigami and Soul Society arcs were some of the best Shonen ever written, head and shoulders above anything either Pirate or Ninja Goku were pushing out at the time. Plus, early BLEACH easily had the best art. Kubo came through, killing everything with his distinctly detailed yet whimsically realized flavor and i loved it so much. Oda was dope, don’t get me wrong, but his sh*t was nightmare Mickey and Kishimoto’s stuff always seemed wonky to me. To this day, i always point to those first two arcs of BLEACH as the best of Shonen content available for people new to the fandom. Unfortunately that quality didn’t maintain.

The Big Three, i think, were great for different reasons. One Piece had it’s grad ass narrative, one that is still intriguing, if a little bloated, to this day. Naruto had an air of originality with how it demonstrated it’s world. That ninjitsu sh*t allowed for a ton of imaginative abilities an the Jinchuriki was an interesting take on an OP form. BLEACH, for all of my b*tching, maintained the dopest art, even after Kubo gave up and got pretty lazy. Even so, around 2007, the Big Three began to show there age. The title holders were vulnerable and a ton, an absolute slew, of brand new manga came for their throne. Tsugumomo (a personal favorite which I've written about numerous times on this blog), Spice and Wolf, Rosario+Vampire, Maken-Ki, and Deadman Wonderland (another favorite i should probably get around to gushing about) all developing a massive following but, out side of the two i mentioned here the one manga i found myself completely infatuated with was Psyren.

Psyren is everything you could ever want in a Shonen manga. It has fantastic art, an imaginative world, a compelling plot, endearing characters, and one of the best OP form i have ever seen in my entire life. I love this book, man. I don’t want to spoil too much but Psyren follows Ageha Yoshina, your high school protagonist, who stumbles upon a really f*cked world through a calling card game called Psyren. I don’t want to get too deep into the plot, go f*cking read this thing, but, suffice it to say, that narrative is all over the place. This thing takes you on a ride. There are absolutely great supporting characters and timey-wimey shenanigans all over the place. Ageha is every bit the protagonist that Luffy, Ichigo, or Naruto are and he could, arguably, hold his own with any one of them in a fight. Dude’s ability, however, is probably the most spectacular, outside of Ichigo’s Mugestsu. Seriously, the visual aspect of this book is f*cking stunning. Toshiaki Iwashiro‘s art could give Kubo’s a run for his money, especially toward the end. Not just in aesthetic, but in kineticism and power. Some of these battle scenes were exceptional. That climax where we see Ageha lose his sh*t? Yea, that would have been fantastic to see on onscreen, which brings me to the biggest issue i have with Psyren; Where the f*ck is my anime adaption man??

Psyren had a finite run. There was beginning, middle, and end. Iwashiro had a story he wanted to tell and he told it. Admittedly, it feels a bit rushed toward the end but i think that may have had more to do with Jump and their shenanigans than anything else. Jump relies too much on popularity polls and sh*t so when the audience looks to be waning in interest, sh*t gets the axe. In Psyren’s case, i don’t think that would have been the case if there was an adaption airing weekly. Psyren lends itself to animation, man. It’s glorious to look at and a lot of the battles, if animated with care, could have been truly brilliant to see. Instead, Psyren got the axe and, a decade later, still no anime in sight. It’s mad frustrating because all of those other 2007 manga i listed, they all got to see the small screen. Arguably the best out of all of them? Not even a hint. Missed opportunity, for sure. Even without an onscreen adaption, Psyren still kills. It’s an excellent story full of great art and dope characters. It’s truly a hidden gem and, if you got the time, i suggest checking it out. It deserves way more yes on it and this is me driving that traffic. Go read Psyren and tell people how dope it is. Sh*t deserves all of the shine!

[undeadwicchan]

So I tried out Summoner Weiss myself and watched others use her and I have to say...

I would rather use Sun over her, as she’s essentially a worse Sun clone. Her Armas Gigas doesn’t live long or do anything worthwhile, and she can’t do good enough damage to help her summon. The only plus side is that Weiss can attack airborne units, but her low HP and weak attack causes her to rely very heavily on her allies.

Sorry Weiss, but the Monkey King reigns supreme on this one.

[memoirsofagenie]

Living Vicariously Through the Naga:The Enigma Lives On in Siem Reap…

by: Genie

Ensconced in the rainforest and steeped in centennial mythology, lies the province of Siem Reap, home to the variegated archaeological extravaganza embodied by Angkor, the old seat of the Khmer Empire. Once shrouded in mystery, this verdant area is dotted far and wide with architectural wonders, however a particular quartet of magisterial temple complexes, open to the public today, accounts for much of its widely deserved mystique: Angkor Wat, Angkor Thom, Preah Khan and Ta Prohm.

The historical promenade through Cambodian history could not begin at a better place than Angkor Wat. After a brisk, vertiginous walk over the frontal moats and their tall lily pads by way of the “floating” bridges, Angkor Wat starts etching its “mountainous”, verdigris contours on the horizon, in all its pomp and pageantry. Some tall palm trees here and there, wandering rhesus monkeys, endless meters of loggias reflecting over the water, and monks clad in orange walking back and forth, act as merely the castellated gateway and battlements to King Suryavarman II’s main, multi-story building and its five signature turrets set against a perennial twilight sparkle.

Given the magnitude of this World Heritage structure, it would take more than one afternoon to visit it properly. Suffice it to say, to this day Angkor Wat is the largest standing religious building in the world. Still and all, its essence is to be found primarily in a threefold enigma. First of all, it is per se rather puzzling that Angkor Wat should be originally consecrated to none other than the Hindu divinity Vishnu. Today, Angkor Wat is both Hindu and Buddhist, but considering that Hinduism is not as geographically widespread as Buddhism from India eastwards and that it is an older religious philosophy, it begs a more in-depth question as to what exactly happened. Hence, the (originally and equally) Hindu Ko Samut Teuk Dos legend, also known as Samudra manthan (in Hindi); in other words, The Churning of the Ocean of Milk.

According to this founding epic, Devas (Gods) and Asuras (Demons) were forever at war to dominate the world. Ever more tired and running out of strength, the Devas asked Vishnu for help. As a token for his help, Vishnu asked the Devas to search for Amrita, the Sacred Elixir of Immortality, from the depths of the cosmos. However, because the task was so difficult, the Devas were forced to ally with their antagonists, the power-voracious Asuras. Using Mount Meru as the pivotal point and the King of the Nagas (snakes), Vasuki, as a churning device, both factions placed themselves at different extremities of the Naga and started pulling, while many treasures emerged from the Ocean of Milk. In time, the Asuras, being closer to the head of the Naga, were eventually poisoned by the fumes it exhaled, only managing to save themselves when Amrita was delivered to them by a divinity emerging from the Ocean of Milk. This episode did not go unnoticed by the Devas; they promptly informed Vishnu, who managed, in turn, to steal back Amrita and hand it to the Devas, so that they could reign supreme and banish the Asuras to hell.

This legendary tale represents the second enigma of Angkor Wat, and is virtually “unlocked” in the impossibly beautiful bas-reliefs stretching along the 49 meters of the east gallery, a grand spectacle where what could have been remnants of muted pink, ochre, and terra-cotta hues can still be slightly discerned by the naked eye between carvings. Also unlocked within Angkor Wat is the third enigma, whereby a Naga princess wed the First King of Ancient Cambodia, giving rise to the Cambodian people or Khmer. In this respect, Angkor Wat has various massive balustrades in the shape of the seven-headed Naga, each head representing the seven “races” of the Naga people. A recurring theme in the Angkorian temples, the seven-headed Naga is part and parcel of Khmer cosmology, as are the Apsaras, the celestial dancing creatures whose main purview included entertaining royalty and divinities on earth with their perfunctory expressions.

The hypnotic tour through Khmer chronology continues between Angkor Wat and Angkor Thom, where a short pit-stop to the Baksei Chamkrong temple gives us a taste of what would seem to be yet another enigma. According to various “conspiracy” theories, there are uncanny stylistic similarities between the Mayan Pyramid of the Great Jaguar (in Tikal, Guatemala) and Baksei Chamkrong! Clearly, the knowledge and discoveries acquired thus far on the matter are not enough to reframe history, so to say; nonetheless this testament to the universal aspect of human imagination makes for some quite fascinating journeys!

On its part, Angkor Thom, the last capital city of the Khmer Empire, boasts a masterpiece triad of its own, the first of such being King Jayavarman VII’s exquisite 350-meter long Terrace of the Elephants. Once a royal platform to salute his military forces, this terrace features intricate carvings of lions, elephants and Garudas, the bird-like creatures pertaining to Hindu, Buddhist and Jain mythology, and stalwart nemesis of the Nagas. Located just off the Royal Square is the Terrace of the Leper King. Although there was a king with leprosy in Cambodian history, the name derives mainly from the erosion found on the statue of Yama, the God of the Underworld, carved within this site. This terrace might have been used for funerary/cremation rites.

Perhaps the most distinctive temple in Angkor Thom is the “baroque” Prasat Bayon. Entering through the South Gate, one is confronted with nothing short of yet another enigmatic vision, as 200 towering giant faces (four per tower) look down on you with their seraphic smiles and sphinx-like countenances. Although it is unclear whether the faces depict Lokesvara (the Buddhist bodhisattva of compassion) or King Jayavarman VII, the two hypotheses do not necessarily exclude each other. While the bas-reliefs within the temple, portraying military scenes and other mundane events, are also worthy of note, the deeply rooted “intimidation/awe” deriving from the “scoping stares” remains the main highlight of the Bayon. For all we know, they might have been –and still are- quite a bulwark against the evil eye, if anything!

The eternal voyage of the Naga continues in the Neak Pean and Preah Khan temples, located north of Angkor Thom. Upon first impressions, and having to cross a long walkway on swampy waters before reaching the former, it is hard to believe that there might be a temple at the end of the glittering trail. However, Neak Pean juts out from a central sacred pool (believed to represent the mythical Lake Anavatapta and to have healing powers), surrounded by two “underwater” sculptures of the Naga. As regards the latter temple, it is the proof that nature (usually) claims –or ravages, in this case- back its own! At any rate, not even this inevitable and “vengeful” predicament has managed to cover up the ineffable magic of Preah Khan, home to Jayadevi (a sister-wife of King Jayavarman VII), among others. Moss, lychen and ferns slowly brush over the rubble and rickety beams framed by quasi-trompe l’oeil flourishes, while a vast array of delicate carvings, reliefs and friezes, not to mention the standing library ruins and stupa illuminated by the sun, complete this eerie, albeit paradoxically idyllic, setting on the green.

The encroaching nature and weathered look of Preah Khan, however, is solely a prologue to the real devouring power of the forest subsequently witnessed at Ta Prohm, the culminating phase of this open-air museum survey. As soon as Ta Prohm’s ruins are approached, the elusive footpaths give way to a stunning portrait of luxuriant foliage and creeping vines that lift as if they were deep-green shutters following each occasional waft of wind. Here, the Nagas and Apsaras have relinquished their leading roles to the true main protagonists, tetramelacea (tetrameles nudiflora), ficus strangulosa and ceiba pentandra (kapok), names that, given their peculiarity, would seem those of gods, but actually refer to gigantic trees. Their imposing barks have literally taken over the temple complex, coiling up the ruins like the Nagas themselves… or is it that the trees are living vicariously through the Nagas and viceversa? Alas, not even Lara Croft could have possibly deciphered this last enigma, bound to live on for the centuries to come! But, like Lara Croft’s alter-ego, we shall return…

 Rome, 5 March 2019

[garywonghc]

An Introduction To Buddhism (1 of 2)

by Chogye Trichen Rinpoche

This is a teaching about the importance of cultivating positive emotions such as loving kindness and compassion, and how this will promote well being, not only in ourselves, but also in the greater world we all share.

[A Buddhist Aeon] In order to put the Buddhist tradition into context and understand how a fully enlightened one appears in this world, it is important to know about kalpas, the aeons or cycles of time. Within a given cycle of time, there is always the formation of a physical environment of the 'outer elements', and this environment will be inhabited by sentient beings such as ourselves. A kalpa time cycle is divided according to three phases: First, there is the process of coming into being or 'creation'; next, the time span during which the environment and beings abide; and finally, the phase of cessation, where that cosmos and the beings within it disappear. A kalpa or aeon in which a fully enlightened one appears is called an aeon of light, or 'fortunate' aeon. It is fortunate because a fully enlightened one appears in the world and bestows the light of spiritual intelligence upon the beings there. In contrast, there are the dark aeons, those cycles of creation in which no enlightened being will appear. It is also said that the dark aeons are more numerous than the aeons of light.

[A Fortunate Aeon] The particular cycle in which we now live is of a very special type, known as a 'fortunate' aeon. At the beginning of this fortunate aeon, there was a Chakravartin, a universal monarch of great power known as Tsibkyi Mugyu, or Arenemi. As ruler at an early stage in the formation of that aeon, King Arenemi enjoyed a reign of great prosperity, harmony, and well being. This was true not only for the realm of the gods, but also for the human worlds. Although officially King Arenemi may not have had many queens, still it is said that as a great universal regent, he had thousands of queens. We are also told that these queens bore him more than one thousand princes. Due to his vast merit, merely by gesturing to one of these women and calling her his queen, she was able to bear him a son. King Arenemi gave rise to the wish that each of his sons could share among themselves the rule of his kingdom.

In those times, there lived a Buddha, the historical Buddha of that era, just as the historical Buddha of our era is Shakyamuni. These are fully enlightened Buddhas who display the twelve great deeds of an enlightened one. The Buddha of that era was known as Mahavairochana. The king approached Buddha Mahavairochana, saying that he had fathered more than one thousand sons, and asking how he might bless each son to enjoy a worthy and meaningful reign as king. The king asked if he might offer the services of these princes to Buddha Mahavairochana, in order that his sons might bear even greater fruits of virtue. The Buddha accepted King Arenemi's request, taking the princes as his disciples. The king offered his sons to the Buddha with great aspirations, wondering in his heart when they would become equal to the Buddha himself. He asked Mahavairochana, 'When will they be like you?' The Buddha reassured the king that all of the princes, as his disciples, would one day certainly become fully enlightened ones. Over the progression of the cycles of time, it is said that an aeon of light is generally followed by a dark aeon. This particular aeon in which we dwell is known as a Bhadrakalpa, an 'extremely auspicious aeon'. At the beginning of the formation of this aeon, it is said that in the middle of the universal ocean there blossomed a one-thousand petalled golden lotus flower. This wondrous lotus sprung up with such force that it reached to the heights of the realms of the gods or devas. The appearance of the golden lotus caused the gods to exclaim, "What a wonder it is to witness the blooming of the thousand petalled golden lotus! It is an auspicious omen, signifying the coming of one thousand Buddhas in this aeon." Thus the blossoming of the lotus foretold the birth of the thousand princes destined to Buddhahood.

[Previous Buddhas] Delighted by Mahavairochana’s prediction, the king further wondered in what order his sons would become enlightened. He requested the Buddha to reveal this to him. Mahavairochana ordered that the name of each prince be written out, and the names were gathered in a cloth and placed in a vase. Then the Buddha drew names, one by one, unfolding the sequence in which each of the princes would reach Buddhahood. The first name selected, the one who would become the first Buddha of our fortunate aeon, was the one we know as Buddha Krakuchandra. The second name drawn was the one who became Buddha Kanakamuni, the second Buddha of our kalpa. The third name drawn was the prince who would be born as the Buddha Kashyapa, the third Buddha of our fortunate aeon. The fourth was the name of the prince who was to become the enlightened one of our present era, Buddha Shakyamuni. Hence Shakyamuni is known as the fourth great emancipator, or liberating one. The fifth name drawn was the one to appear as our next Buddha, Lord Maitreya. The sixth will come as Buddha Simhanada. In this way the names of each of the more than one thousand princes were drawn. It was further prophesied by the Buddha that the prince whose name was drawn last, upon taking birth as the final Buddha of this fortunate aeon, was to be an extraordinary enlightened one. This Buddha would embody all the realisation, qualities and activities of all the previous Buddhas united within himself. Our present era is that of the fourth prince, known to us as Buddha Shakyamuni.

[The Coming of the Buddha of this Age] Prior to Shakyamuni's descent into our world, he reigned in the realm of the gods known as Tushita. Whoever ruled in the Tushita heaven assumed the name of Svetakirti, and so this was Shakyamuni's name while he dwelt there. During his reign in the Tushita heaven, Svetakirti received many requests from gods as well as humans, beseeching him that he might appear in our world and manifest the twelve deeds of a supremely enlightened one. In response, he made five careful and specific observations regarding the circumstances of his future birth. These included the place in our world in which he would be born, at what time and on what date, as well as whose child he would be, and so forth. From these five careful observations, Svetakirti determined that he would appear in this world as a prince, the son of King Suddhodana and Queen Mayadevi in the kingdom of Kapilavastu. The remains of Kapilavastu are found in southern Nepal, not far from the border with India.

[Lumbini Garden] Just to the east of Kapilavastu there was in those ancient times a small kingdom whose capital was known as Devadaha. The two kingdoms enjoyed prosperous matrimonial bonds, with frequent marriages occurring between them. In those days, the woman who was to be the grandmother of Shakyamuni Buddha, whose name was Lumbini, dwelt in Devadaha. While Lumbini, a queen, was dwelling in the capital city of Devadaha, she used to visit a very beautiful garden nearby, which was owned by a wealthy family. As she went there frequently, she grew to wish that she be given the garden as her own. Her husband, the king, told her, "Although I may be the lord of this land, it would not be right for me to claim someone else's garden for you. Still, if you so wish, I shall build for you just such a garden." And so it was that the king built a most unique and splendid garden in the countryside between the two cities. He named the garden in honour of his queen, and that place is known to this day as Lumbini. Queen Lumbini became the mother of two beautiful princesses. As was the custom in those times, she consulted the astrologers and soothsayers, so that she might know what future best suited her daughters the princesses. The seers unanimously predicted that both girls had the great merit to marry either a powerful ruler, or to become the mother of a mighty being who would become a supreme enlightened one. In the light of these predictions, her husband Suprabuddha, the king of Devadaha, wished to form a bond of marriage with the king of Kapilavastu, a man of great fame and reputation. As it happened, the king of Kapilavastu harboured a similar wish. Thus Queen Lumbini’s eldest daughter, Mayadevi, was chosen to marry Shuddodhana, the prince of Kapilavastu. The marriage between Mayadevi and Shuddhodana was a grand celebration.

[Birth of Shakyamuni] In due course, the future Buddha Shakyamuni entered into this world. It is said that Queen Mayadevi conceived her son on the full moon night of the sixth lunar month in the earth sheep year. Then, in the fourth lunar month of the following year, the year of the iron monkey, on the seventh day of the month, she gave birth to a son. The normal period of growth in the womb is nine months, yet it is said that she carried her child for almost ten months. This is the account of the gestation and birth of the Buddha as it is given in the traditional histories. After Mayadevi found herself heavy with child, she remained for the most part in confinement, away from the social activities of the royal court. But, as the time to give birth grew near, she wished to withdraw to somewhere more peaceful. When asked what place she would find more pleasing, Mayadevi proposed a visit to her mother’s garden, Lumbini, to relax and take rest. As she strolled in the Lumbini grove, the time for Buddha’s birth suddenly came upon her. Just as Queen Mayadevi reached out to grasp the branch of a plaksha tree, the Buddha miraculously issued forth from her. Causing Mayadevi neither pain nor injury, Buddha was born from under her right arm. The legends of the Buddha’s birth tell us that from the day he entered Mayadevi’s womb, all the devas and gods from the golden celestial realms watched over and protected him. It is even said that Buddha emerged from the ribs of Mayadevi’s right side in the form of shimmering, scintillating golden light. Thus his appearance in this world was not by means of an ordinary birth, but was accompanied by miraculous events. We are also told how, immediately upon emerging from Queen Mayadevi, the Buddha walked seven steps in each of the four directions. Taking those steps, Buddha uttered four profound statements. The translation of these four statements is wonderful in the Tibetan language, where they reflect a play on the words for east, south, west, and north. As the Buddha took his first steps, in the eastern direction, he said, 'From here I arrive to attain nirvana, enlightenment.' The word for east in Tibetan also means 'to arrive'. Stepping to the south, the Buddha said, 'I will be in harmony with worldly understanding.' As he moved to the west, the direction of the setting sun, he said, ' This is my final birth.' And, with seven steps to the north, Buddha said, 'I have purified all my deeds in samsara, worldly existence...' playing on the word for north which also means 'purify'. Naturally, a child born in the ordinary way would never be able to walk and speak with such eloquence and dignity. Yet at his birth the Buddha strode forth in each of the four directions, heralding the event of his birth to all the world as he fearlessly proclaimed, 'I am unexcelled by anyone ever to appear in this world.' The child was raised as prince Siddhartha, and all people held great hopes for him as the future leader of the Shakya clan.

[Marriage] When his time of maturity had come, two fair princesses were proposed who might serve as his future queens. They were called Yasodhara and Gopaka. Both princesses belonged to highly respected and wealthy families, and there were many princes in the surrounding kingdoms who eagerly sought their hands in marriage. And so a competition was arranged, and all their suitors had to display their skills and sportsmanship, in hopes of winning such widely coveted brides. Prince Siddhartha defeated every rival and had the honour of claiming both princesses as his Queens. In this way, Siddhartha prepared to succeed his father as ruler of the kingdom of the Shakyas. Having married, Siddhartha reigned as prince of the Shakya kingdom. One day, he went on his first excursion outside of the palace and into the city of Kapilavastu. On this journey, the prince witnessed four events that would change him forever. These events brought Siddhartha face to face for the first time with human suffering, from which he had so far been carefully shielded by his father the king. Having never in his life seen such conditions, Siddhartha immediately understood that all living beings are subject to the inevitable sufferings of illness, old age, and death. As the full force of this understanding struck his mind, Siddhartha wondered how any one could pretend that all was fine in the world and carry on as if such suffering did not exist! This experience quickly caused Prince Siddhartha to give rise to a powerful sense of renunciation, and it forced him to recognise the futile nature of this world. All the activities of this life were ultimately meaningless, since all who inhabit this world must one day experience the same pains and pass away, leaving the experiences of this world to fade away like a dream. Having come to this realisation, Siddhartha resolved to leave the palace life and wander in search of the truth. He sought to extract from life its essential meaning.

[Leaving the Palace] The young prince had a faithful attendant known as Chanda, and he had a most excellent horse known as Kanthaka. Siddhartha summoned his attendant and ordered him to prepare his mount. Bidding his wife and infant son farewell as they lay asleep, he stole from the palace in secrecy, under cover of night, lest his subjects learn of his departure. Prince Siddhartha ordered his attendant to grasp the tail of his horse Kanthaka, who then miraculously bound over the walls of the palace compound and into the city. It is said that the four great guardian deities of the directions offered their service to Siddhartha, each lifting one hoof of the horse and spiriting them off through the air, until at last they brought them to the place known as Vishuddha stupa, the ‘stupa of great purity’. It was there that the prince formally abandoned the life of a householder and adopted the life of a total renunciate. Seizing a blade, he cut off the length of his hair, as a sign that he had parted from all attachment to this world. Siddhartha discarded his princely garb, his gown and ornaments. It is said that hosts of gods and devas magically appeared all about him, offering him the robes of a spiritual mendicant. Donning these garments, bestowed upon him by the gods themselves, he declared, ‘I have renounced worldly life in order to seek the path to enlightenment.’

[Early Asceticism] Now Siddhartha pondered carefully the nature of the path he sought. He understood that all the Buddhas of the past had reached enlightenment through ascetic practice. He knew with certainty that there was no way for him but to follow the same path. Siddhartha resolved to practice the ascetic way, making a solemn vow of fasting, and abstained from all food for six years. He further determined to remain motionless in meditation, and so it was that he sat continuously for six years without moving. This period of Siddhartha Gautama's life has come to be known as the six years of asceticism, of unbroken, solitary meditation practice. This is how penances led him to the threshold of enlightenment, on the banks of the river Niranjana. During these six years of fasting, Siddhartha also kept a vow of noble silence. He did not speak to anyone, but remained absorbed in the silence of meditation. Once, as he sat motionless and speechless, some local cowherds came upon him, and wondered if he was a human being or a statue. They went so far as to poke burning irons into his ears, but Siddhartha showed not the slightest reaction. In this way he demonstrated the greatest determination to succeed in his meditation and austerities.

[Enlightenment] Now Siddhartha Gautama's mother had passed away seven days after giving birth to him, and she had been reborn in the land of the gods known as the 'realm of the thirty-three.' As a deva of this realm, she possessed some limited clairvoyance, and was able to see that her son from her previous life, Gautama, was undergoing great hardships. As this goddess, the former Mayadevi, wept for Siddhartha, her tears fell miraculously from the celestial world, forming a small pool in front of the meditating Buddha. In response to this, the great meditator Gautama broke his silence, just one week before he was to attain enlightenment. He spoke out reassuringly to his mother, saying, 'Although I have gone through these ascetic practices of unimaginable difficulty, yet I still have not reached my goal. I have only one week before I will gain enlightenment. Then I will repay your kindness, and will come to teach you in the near future.' In this way, his mother was the first person for whom Gautama broke his vow of silence, just prior to attaining enlightenment. Completing his six years of meditation, Siddhartha arose from that place, setting out on foot for what would come to be known as Bodhgaya, the diamond seat. Thus he came to arrive before the great Bodhi tree there. He knew that this was indeed the very place where all the past Buddhas, such as Krakuchandra, Kanakamuni, and Kashyapa, had attained enlightenment, on the very seat he himself now approached. In deepest reverence, Gautama bowed before the vajra seat and then took his place upon it, leaning his back against the Bodhi tree. Upon that very throne of enlightenment of the Buddhas of the past, Siddhartha repeated the greatest act of all of history, achieving complete enlightenment under the Bodhi tree at Bodhgaya. Gautama had spent six years meditating on the banks of the Niranjana, and had come to the diamond seat of Bodhgaya to finish his meditation training. He entered again into seated meditation at dusk on the full moon night. Terrifying hosts of mara-devils and evil beings swarmed around him in a jealous frenzy. They threatened him with fearsome apparitions, brandishing terrible weapons and hurling them at him in rage and envy. These demons had great power and were able to destroy whatever they set themselves upon. Yet, due to the invincible power of meditation, compassion, and loving kindness emanating from Siddhartha, they could not defeat him. Now only hours from gaining enlightenment, in a meditation of unassailable stability, he transformed all that was flung at him into celestial flowers. He suffered not the slightest harm. Thus conquering and subduing all the mara-devils during the period of dusk on that night, then continuing on through the middle watch of the night he remained in the deep Samadhi of meditation. Finally, in the early dawn that followed the full moon night, he gained complete and perfect enlightenment, samyak sambuddha. Having attained enlightenment, Siddhartha Gautama, now the Buddha, entered into the most sublime and indescribable state of bliss and emptiness that is the enlightened state. In this profound condition he gave rise to a great wish, thinking, 'How wonderful it would be if all sentient beings could share in this realisation which is now my own.'

[fireeaglespirit]

Where do dragons and avis stand?

...among all of these primeval faiths none seemed to provide protection to our kind. Some turned their gazes to the skies, and started worshiping the winged ones, trying to appease their fury and displace their hunger to something else. When the dragons managed to drive their natural enemies, the avis, out of the scene, they became the supreme overlords of the skies, without challenge, without doubt. 

With time, grand temples were built to honor the dragons and appease them as rulers of this world. Many of these places survive today as ancient ruins, silent witness to thousands of years of bloodshed and slavery of our kind, while others were completely decimated.

Dragons naturally, embraced their role as god-kings over humanity. After all, were they not fashioned in the gods’ own image? Superior in every way to the hordes of small, soft creatures that worshiped them. Erebus shaped them out of creation itself; they were the first born, the dearest children, it was only natural. And now there were no longer the challenging avis to try and fight them... but could their destined opponents come back to the scene, after thousands of years? 

I have been thinking a lot these days, concerning dragons and the influence they play on my imagination and stories... looking upon it, its easy to get a feeling that they are very important to me, so I just wanted to dabble a bit on the psychological aspects of these beasts and their own nature, on the ‘why’ I find them interesting and worth of including in my story.

Of course, I find them aesthetically awesome and very interesting creatures to work with, but what about their minds? What just goes through a dragon’s mind? This is a question that had ‘plagued’ me for a long long time and that I’ll try to explain my view here. Take note that this is not the only way to make a ‘dragon creature’, but my own view, of what those beasts are made of and what made me fall in love with them as characters:

"What is better – to be born good, or to overcome your evil nature through great effort?"―Paarthurnax

Its true, I have loved dragons since childhood, but the topic was never taken much serious before I read the Inheritance cycle by Paolini which features very interesting dragons... but this wasn't enough. 

Perhaps, the final things that turned my attention back to them and made me interested in working with them on a psychological level was this quote from Paarthurnax, an elder dragon from Skyrim. He could be called a ‘good natured character’ for his role in the game, but as the quote illustrate, one who wasn't born ‘good’ but worked a lot to change his own nature.

For some reason this quote captured me back in 2011 as I first went through the game, it resonates deeply with how I view certain things and themes for my characters. Its no secret that I do take Skyrim as a huge inspiration for my stuff.

Now back to my dragons, and what I want them to be:

First and foremost, dragons are ‘mythological’ creatures in my verse, they are the stuff of legends... and they are extremely cunning and intelligent, while at the same time they are still definitely beastly... so it involves two of my favorite themes to work with: 

1: Mythology is real and right in front of you! you live in mythological times... how does one deal with that? How does one deal with a huge overpowering beast such as a dragon?

Is it possible to peer into their minds and relate to them? Or are them so indifferent that it is not possible to even draw their attention? Humans might be mere livestock for them... and yet, and still, covenants between dragon and man have been made, so this might not be entirely true, at least for some of them.

2: God is not human. “God” is a pair of winged deities. Dragons are god-sent creatures and as much as its easy to humanize them for being able of ‘human speech’, they’re not human... they’re something else. One thing that really bothers me when reading fantasy novels is when a ‘dragon’ or ‘monster’ character takes human form and completely loses its beastly attributes. And I’m not talking about physical bodies, but the mindset. Or even when they keep their beastly forms, their minds are exactly what you would, expect of a regular person.

I want to see the animal instincts seeping in, the power of such creature and how it affects its mindset and values. Few novels have managed to do it properly, in my opinion of what I expect of a dragon... they are either pure animals or pure humans.... they are either seemingly unaware of their size and teeth and claws, etc.. I don’t mean they are ‘wrong or bad dragons’, just not how I envision them and wish to work with them.

The thing that intrigues me is what should the mind of a creature such as a dragon look like? How would their sheer size, immortality and power affect their thinking? Unfortunately we have never had contact a non-human species capable of comparable intellect, speech patterns and understanding (even thought I do value immensely the intellect of non-human animals such as dolphins, parrots, corvids, monkeys, etc.. and take them as examples of how non-humans could communicate and behave). I do imagine what would happen when we could truly communicate with a different creature of such magnitude.

If I manage to work properly my dragons the way I envision them, they should feel inherently inhuman, and at the same time, like the gods of ancient times themselves, they should be able to eventually take an interest in what goes behind a mortal’s mind and meddle in day to day life in their own way... they have their own set of values that sets them apart from humans, but they can try to understand us if they wish to, just as we can try and look past the species barrier and... they are capable of love..

..and hatred, just like us...

I like to take the ancient polytheistic gods of different cultures as examples for this case, as weird as it looks... they are inhuman creatures and sometimes can take an interest in ourselves, to the point of extremes, sometimes... why did the gods, in all their power and glory, care historically for us, taught humans many important things that enabled the development of civilization and even loved humans, physically and metaphorically, in various stories? ...

One nice example is...

Prometheus who defies the gods by stealing fire and giving it to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.

So, it is possible for said creatures not only take an interest in mankind, but even take their side and challenge their own brethren, being grievously punished in the end...it is possible, for a dragon, and everlasting beast to feel these things? Can the softness and ephemeral nature of the humans permeate their armored bodies? Can a dragon ‘sacrifice themselves’ for a human?

Going back to dragons and avis:

Its important to remember, that in-lore, unlike humans whom are considered a ‘mongrel’ race and have evolve for its own end, dragons and avis are creatures with a purpose that reflects their own sire deity: 

Dragons are ‘conservation’, stasis, order. Dragons are prideful and they are most happy when meditating, alone and quiet in their safe havens.. dreaming a dream with no end. However, their creation and nature prevents them from achieving that: dragons have a strong, indomitable will to dominate, their nature is ‘attached’ to the world, they were meant to keep order. The dominating nature of dragons, perhaps steers from their immeasurable hunger, as since being struck down by the gods and bind to Aidera, they struggle with a huge need of eating to maintain their immense bodies... however, unlike the avians, they do not have a hunting drive and prefer to use humans as a mean of attaining food from them and receiving livestock sacrifices as nourishment. 

Dragons were struck down from the astral planes were they dwelt, and became living creatures, even thought their bodies and aether qualities work in different ways. The elder dragons that have fallen back then have each been given an aspect or ‘element’ to reign upon and keep order...

They also feel the need to dominate, in order to have peace of soul and mind, they dislike conflicts, for the most part, and only would use force and violence when provoked (or not properly taken care of)...

Avis are ‘destruction’, disorder, chaos. Avis are most happy when flying on the high winds, they care little for the problems of mankind and they don’t depend on them. They are the definition of a ‘free spirit’.

Avis have a strong hunting drive. Avis are a different case and perhaps their mindset is even more difficult to peer into.. they are extremely detached creatures, they do not ‘care’ for the world bellow...  they have an inherent "inability to connect" and they simply soar higher and higher, and if it wasn't from their physical needs they might as well fly to end of days.

However, eventually they needed to focus as the dragons began purging them out of their lands on Aralath. Avis were given the ‘phoenix’ power as a mean to counter attack the dragons, but as proven by history, this caused their undoing. 

The red phoenix is the symbol of destruction and harbinger of chaos, as it represents the ultimate will of the avis to transcend and ‘burn’, to ascend to higher and higher and it symbolizes their vengeance too, it proves that even the detached avis can take things personally, and its and example of the overcoming of nature once again.

However, the red phoenix is a very egoistical thing in nature. Its the honed avis essence to the extreme, and not necessarily a good or bad thing, but certainly an aspect of nature that things must be destroyed in order for new things to be able to sprout and new life be created... in this regard, obviously the blue and purple phoenix are achievements of the lineage of avians who managed to dilute a bit and control this essence of destruction, achieving new heights... who knows how far can the avians go, with the allied essence of the avis with the humans?

Still, the red phoenix is the integral part that must be dealt with by Aquila in the story and again the theme of ‘overcome one’s own nature’ is worked here, hopefully to an interesting ending...

However here is the overcoming of the nature. Can an avis control their blood-lust and prey drive? Can a dragon control their pride and insatiable hunger? Its clear, looking at avian society, especially Aerynith from the floating isles, that they have a strong escapist tendency, they easily overlook and ignore the struggles going bellow their homes, they delight in their own safe havens and their hunting skills. Even the tribes have escapist tendencies, dwelling in their never ending dreams. The draconian society, or what is left of it has a certain imperialist mindset... draconians tend to be self centered and righteous people.. they feel like the world should belong to them...

The avis are all gone, and their time past.. the dragons are but a shadow of their former selves.. however their inheritors will carry their wills and dreams. Will the children of the winged beasts of old be able to turn their destinies, and look past their differences, when times of strife comes? Will the children of the winged gods accept their fates, as pieces of their eternal game... or will they rebel and take control of their own destinies?

The questions I wanted to propose with this text are... 

What really lurks behind the slitted pupil of a dragon? 

How does the descendant of those creatures relate to them? Does being half a dragon or avis leads one away from each other and from humanity or are these different beings ever able to re-conciliate?

Hopefully we’ll be able to see as the story develops..

[newsmatters]

It’s Never Been Easier to Make an Adventure Game

It’s Never Been Easier to Make an Adventure Game

In the early years of personal computers, the adventure game genre reigned supreme, exemplified by classic titles such as King’s Quest and The Secret of Monkey Island. Toronto-based artist Julia Minamata grew up playing this style of game, which emphasizes storytelling and story-based puzzles. “With an adventure game, you move through it at your own speed, and it’s more like a book than an arcade…