Podcasts about Dionysus

Bridget, Caitlin, and Hilda discuss "Tender Cruelty," book 9 in Katee Robert's Dark Olympus series. Longtime listeners know Hilda's feelings on this series, but what do Bridget and Caitlin think? Did this book live up to what they were hoping for? Well, listen now and find out.  Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

What if the most transformative thing you can do for your writing craft and author business is to face what you fear? How can you can find gold in your Shadow in the year ahead? In this episode, I share chapters from Writing the Shadow: Turn Your Inner Darkness Into Words. In the intro, curated book boxes from Bridgerton's Julia Quinn; Google's agentic shopping, and powering Apple's Siri; ChatGPT Ads; and Claude CoWork. Balancing Certainty and Uncertainty [MoonShots with Tony Robbins]; and three trends for authors with me and Orna Ross [Self-Publishing with ALLi Podcast]; plus, Bones of the Deep, Business for Authors, and Indie Author Lab. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Joanna Penn writes non-fiction for authors and is an award-winning, New York Times and USA Today bestselling author of thrillers, dark fantasy, and memoir as J.F. Penn. She's also an award-winning podcaster, creative entrepreneur, and international professional speaker. What is the Shadow? The ‘creative wound' and the Shadow in writing The Shadow in traditional publishing The Shadow in self-publishing or being an indie author The Shadow in work The Shadow in money You can find Writing the Shadow in all formats on all stores, as well as special edition, workbook and bundles at www.TheCreativePenn.com/shadowbook Writing the Shadow: Turn Your Inner Darkness Into Words The following chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn. Introduction. What is the Shadow? “How can I be substantial if I do not cast a shadow? I must have a dark side also if I am to be whole.” —C.G. Jung, Modern Man in Search of a Soul We all have a Shadow side and it is the work of a lifetime to recognise what lies within and spin that base material into gold. Think of it as a seedling in a little pot that you're given when you're young. It's a bit misshapen and weird, not something you would display in your living room, so you place it in a dark corner of the basement. You don't look at it for years. You almost forget about it. Then one day you notice tendrils of something wild poking up through the floorboards. They're ugly and don't fit with your Scandi-minimalist interior design. You chop the tendrils away and pour weedkiller on what's left, trying to hide the fact that they were ever there. But the creeping stems keep coming. At some point, you know you have to go down there and face the wild thing your seedling has become. When you eventually pluck up enough courage to go down into the basement, you discover that the plant has wound its roots deep into the foundations of your home. Its vines weave in and out of the cracks in the walls, and it has beautiful flowers and strange fruit. It holds your world together. Perhaps you don't need to destroy the wild tendrils. Perhaps you can let them wind up into the light and allow their rich beauty to weave through your home. It will change the look you have so carefully cultivated, but maybe that's just what the place needs. The Shadow in psychology Carl Gustav Jung was a Swiss psychologist and the founder of analytical psychology. He described the Shadow as an unconscious aspect of the human personality, those parts of us that don't match up to what is expected of us by family and society, or to our own ideals. The Shadow is not necessarily evil or illegal or immoral, although of course it can be. It's also not necessarily caused by trauma, abuse, or any other severely damaging event, although again, it can be. It depends on the individual. What is in your Shadow is based on your life and your experiences, as well as your culture and society, so it will be different for everyone. Psychologist Connie Zweig, in The Inner Work of Age, explains, “The Shadow is that part of us that lies beneath or behind the light of awareness. It contains our rejected, unacceptable traits and feelings. It contains our hidden gifts and talents that have remained unexpressed or unlived. As Jung put it, the essence of the Shadow is pure gold.” To further illustrate the concept, Robert Bly, in A Little Book on the Human Shadow,uses the following metaphor: “When we are young, we carry behind us an invisible bag, into which we stuff any feelings, thoughts, or behaviours that bring disapproval or loss of love—anger, tears, neediness, laziness. By the time we go to school, our bags are already a mile long. In high school, our peer groups pressure us to stuff the bags with even more—individuality, sexuality, spontaneity, different opinions. We spend our life until we're twenty deciding which parts of ourselves to put into the bag and we spend the rest of our lives trying to get them out again.” As authors, we can use what's in the ‘bag' to enrich our writing — but only if we can access it. My intention with this book is to help you venture into your Shadow and bring some of what's hidden into the light and into your words. I'll reveal aspects of my Shadow in these pages but ultimately, this book is about you. Your Shadow is unique. There may be elements we share, but much will be different. Each chapter has questions for you to consider that may help you explore at least the edges of your Shadow, but it's not easy. As Jung said, “One does not become enlightened by imagining figures of light, but by making the darkness conscious. The latter procedure, however, is disagreeable and therefore not popular.” But take heart, Creative. You don't need courage when things are easy. You need it when you know what you face will be difficult, but you do it anyway. We are authors. We know how to do hard things. We turn ideas into books. We manifest thoughts into ink on paper. We change lives with our writing. First, our own, then other people's. It's worth the effort to delve into Shadow, so I hope you will join me on the journey. The creative wound and the Shadow in writing “Whatever pain you can't get rid of, make it your creative offering.” —Susan Cain, Bittersweet  The more we long for something, the more extreme our desire, the more likely it is to have a Shadow side. For those of us who love books, the author life may well be a long-held dream and thus, it is filled with Shadow. Books have long been objects of desire, power, and authority. They hold a mythic status in our lives. We escaped into stories as children; we studied books at school and college; we read them now for escape and entertainment, education and inspiration. We collect beautiful books to put on our shelves. We go to them for solace and answers to the deepest questions of life. Writers are similarly held in high esteem. They shape culture, win literary prizes, give important speeches, and are quoted in the mainstream media. Their books are on the shelves in libraries and bookstores. Writers are revered, held up as rare, talented creatures made separate from us by their brilliance and insight. For bibliophile children, books were everything and to write one was a cherished dream. To become an author? Well, that would mean we might be someone special, someone worthy. Perhaps when you were young, you thought the dream of being a writer was possible — then you told someone about it. That's probably when you heard the first criticism of such a ridiculous idea, the first laughter, the first dismissal. So you abandoned the dream, pushed the idea of being a writer into the Shadow, and got on with your life. Or if it wasn't then, it came later, when you actually put pen to paper and someone — a parent, teacher, partner, or friend, perhaps even a literary agent or publisher, someone whose opinion you valued — told you it was worthless. Here are some things you might have heard: Writing is a hobby. Get a real job. You're not good enough. You don't have any writing talent. You don't have enough education. You don't know what you're doing. Your writing is derivative / unoriginal / boring / useless / doesn't make sense. The genre you write in is dead / worthless / unacceptable / morally wrong / frivolous / useless.  Who do you think you are? No one would want to read what you write. You can't even use proper grammar, so how could you write a whole book? You're wasting your time. You'll never make it as a writer. You shouldn't write those things (or even think about those things). Why don't you write something nice? Insert other derogatory comment here! Mark Pierce describes the effect of this experience in his book The Creative Wound, which “occurs when an event, or someone's actions or words, pierce you, causing a kind of rift in your soul. A comment—even offhand and unintentional—is enough to cause one.” He goes on to say that such words can inflict “damage to the core of who we are as creators. It is an attack on our artistic identity, resulting in us believing that whatever we make is somehow tainted or invalid, because shame has convinced us there is something intrinsically tainted or invalid about ourselves.” As adults, we might brush off such wounds, belittling them as unimportant in the grand scheme of things. We might even find ourselves saying the same words to other people. After all, it's easier to criticise than to create. But if you picture your younger self, bright eyed as you lose yourself in your favourite book, perhaps you might catch a glimpse of what you longed for before your dreams were dashed on the rocks of other people's reality. As Mark Pierce goes on to say, “A Creative Wound has the power to delay our pursuits—sometimes for years—and it can even derail our lives completely… Anything that makes us feel ashamed of ourselves or our work can render us incapable of the self-expression we yearn for.” This is certainly what happened to me, and it took decades to unwind. Your creative wounds will differ to mine but perhaps my experience will help you explore your own. To be clear, your Shadow may not reside in elements of horror as mine do, but hopefully you can use my example to consider where your creative wounds might lie. “You shouldn't write things like that.” It happened at secondary school around 1986 or 1987, so I would have been around eleven or twelve years old. English was one of my favourite subjects and the room we had our lessons in looked out onto a vibrant garden. I loved going to that class because it was all about books, and they were always my favourite things. One day, we were asked to write a story. I can't remember the specifics of what the teacher asked us to write, but I fictionalised a recurring nightmare. I stood in a dark room. On one side, my mum and my brother, Rod, were tied up next to a cauldron of boiling oil, ready to be thrown in. On the other side, my dad and my little sister, Lucy, were threatened with decapitation by men with machetes. I had to choose who would die. I always woke up, my heart pounding, before I had to choose. Looking back now, it clearly represented an internal conflict about having to pick sides between the two halves of my family. Not an unexpected issue from a child of divorce. Perhaps these days, I might have been sent to the school counsellor, but it was the eighties and I don't think we even had such a thing. Even so, the meaning of the story isn't the point. It was the reaction to it that left scars. “You shouldn't write things like that,” my teacher said, and I still remember her look of disappointment, even disgust. Certainly judgment. She said my writing was too dark. It wasn't a proper story. It wasn't appropriate for the class. As if horrible things never happened in stories — or in life. As if literature could not include dark tales. As if the only acceptable writing was the kind she approved of. We were taught The Prime of Miss Jean Brodie that year, which says a lot about the type of writing considered appropriate. Or perhaps the issue stemmed from the school motto, “So hateth she derknesse,” from Chaucer's The Legend of Good Women: “For fear of night, so she hates the darkness.” I had won a scholarship to a private girls' school, and their mission was to turn us all into proper young ladies. Horror was never on the curriculum. Perhaps if my teacher had encouraged me to write my darkness back then, my nightmares would have dissolved on the page. Perhaps if we had studied Mary Shelley's Frankenstein, or H.P. Lovecraft stories, or Bram Stoker's Dracula, I could have embraced the darker side of literature earlier in my life. My need to push darker thoughts into my Shadow was compounded by my (wonderful) mum's best intentions. We were brought up on the principles of The Power of Positive Thinking by Norman Vincent Peale and she tried to shield me and my brother from anything harmful or horrible. We weren't allowed to watch TV much, and even the British school drama Grange Hill was deemed inappropriate. So much of what I've achieved is because my mum instilled in me a “can do” attitude that anything is possible. I'm so grateful to her for that. (I love you, Mum!) But all that happy positivity, my desire to please her, to be a good girl, to make my teachers proud, and to be acceptable to society, meant that I pushed my darker thoughts into Shadow. They were inappropriate. They were taboo. They must be repressed, kept secret, and I must be outwardly happy and positive at all times. You cannot hold back the darkness “The night is dark and full of terrors.” —George R.R. Martin, A Storm of Swords It turned out that horror was on the curriculum, much of it in the form of educational films we watched during lessons. In English Literature, we watched Romeo drink poison and Juliet stab herself in Zeffirelli's Romeo and Juliet. In Religious Studies, we watched Jesus beaten, tortured, and crucified in The Greatest Story Ever Told, and learned of the variety of gruesome ways that Christian saints were martyred. In Classical Civilisation, we watched gladiators slaughter each other in Spartacus. In Sex Education at the peak of the AIDS crisis in the mid-'80s, we were told of the many ways we could get infected and die. In History, we studied the Holocaust with images of skeletal bodies thrown into mass graves, medical experiments on humans, and grainy videos of marching soldiers giving the Nazi salute. One of my first overseas school field trips was to the World War I battlegrounds of Flanders Fields in Belgium, where we studied the inhuman conditions of the trenches, walked through mass graves, and read war poetry by candlelight. As John McCrae wrote: We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved and were loved, and now we lie, In Flanders fields. Did the teachers not realise how deeply a sensitive teenager might feel the darkness of that place? Or have I always been unusual in that places of blood echo deep inside me? And the horrors kept coming. We lived in Bristol, England back then and I learned at school how the city had been part of the slave trade, its wealth built on the backs of people stolen from their homes, sold, and worked to death in the colonies. I had been at school for a year in Malawi, Africa and imagined the Black people I knew drowning, being beaten, and dying on those ships. In my teenage years, the news was filled with ethnic cleansing, mass rape, and massacres during the Balkan wars, and images of bodies hacked apart during the Rwandan genocide. Evil committed by humans against other humans was not a historical aberration. I'm lucky and I certainly acknowledge my privilege. Nothing terrible or horrifying has happened to me — but bad things certainly happen to others. I wasn't bullied or abused. I wasn't raped or beaten or tortured. But you don't have to go through things to be afraid of them, and for your imagination to conjure the possibility of them. My mum doesn't read my fiction now as it gives her nightmares (Sorry, Mum!). I know she worries that somehow she's responsible for my darkness, but I've had a safe and (mostly) happy life, for which I'm truly grateful. But the world is not an entirely safe and happy place, and for a sensitive child with a vivid imagination, the world is dark and scary. It can be brutal and violent, and bad things happen, even to good people. No parent can shield their child from the reality of the world. They can only help them do their best to live in it, develop resilience, and find ways to deal with whatever comes. Story has always been a way that humans have used to learn how to live and deal with difficult times. The best authors, the ones that readers adore and can't get enough of, write their darkness into story to channel their experience, and help others who fear the same. In an interview on writing the Shadow on The Creative Penn Podcast, Michaelbrent Collings shared how he incorporated a personally devastating experience into his writing:  “My wife and I lost a child years back, and that became the root of one of my most terrifying books, Apparition. It's not terrifying because it's the greatest book of all time, but just the concept that there's this thing out there… like a demon, and it consumes the blood and fear of the children, and then it withdraws and consumes the madness of the parents… I wrote that in large measure as a way of working through what I was experiencing.” I've learned much from Michaelbrent. I've read many of his (excellent) books and he's been on my podcast multiple times talking about his depression and mental health issues, as well as difficulties in his author career. Writing darkness is not in Michaelbrent's Shadow and only he can say what lies there for him. But from his example, and from that of other authors, I too learned how to write my Shadow into my books. Twenty-three years after that English lesson, in November 2009, I did NaNoWriMo, National Novel Writing Month, and wrote five thousand words of what eventually became Stone of Fire, my first novel. In the initial chapter, I burned a nun alive on the ghats of Varanasi on the banks of the Ganges River. I had watched the bodies burn by night on pyres from a boat bobbing in the current a few years before, and the image was still crystal clear in my mind. The only way to deal with how it made me feel about death was to write about it — and since then, I've never stopped writing. Returning to the nightmare from my school days, I've never had to choose between the two halves of my family, but the threat of losing them remains a theme in my fiction. In my ARKANE thriller series, Morgan Sierra will do anything to save her sister and her niece. Their safety drives her to continue to fight against evil. Our deepest fears emerge in our writing, and that's the safest place for them. I wish I'd been taught how to turn my nightmares into words back at school, but at least now I've learned to write my Shadow onto the page. I wish the same for you. The Shadow in traditional publishing If becoming an author is your dream, then publishing a book is deeply entwined with that. But as Mark Pierce says in The Creative Wound, “We feel pain the most where it matters the most… Desire highlights whatever we consider to be truly significant.” There is a lot of desire around publishing for those of us who love books! It can give you: Validation that your writing is good enough Status and credibility Acceptance by an industry held in esteem  The potential of financial reward and critical acclaim Support from a team of professionals who know how to make fantastic books A sense of belonging to an elite community Pride in achieving a long-held goal, resulting in a confidence boost and self-esteem Although not guaranteed, traditional publishing can give you all these things and more, but as with everything, there is a potential Shadow side. Denying it risks the potential of being disillusioned, disappointed, and even damaged. But remember, forewarned is forearmed, as the saying goes. Preparation can help you avoid potential issues and help you feel less alone if you encounter them. The myth of success… and the reality of experience There is a pervasive myth of success in the traditional publishing industry, perpetuated by media reporting on brand name and breakout authors, those few outliers whose experience is almost impossible to replicate. Because of such examples, many new traditionally published authors think that their first book will hit the top of the bestseller charts or win an award, as well as make them a million dollars — or at least a big chunk of cash. They will be able to leave their job, write in a beautiful house overlooking the ocean, and swan around the world attending conferences, while writing more bestselling books. It will be a charmed life. But that is not the reality. Perhaps it never was. Even so, the life of a traditionally published author represents a mythic career with the truth hidden behind a veil of obscurity. In April 2023, The Bookseller in the UK reported that “more than half of authors (54%) responding to a survey on their experiences of publishing their debut book have said the process negatively affected their mental health. Though views were mixed, just 22%… described a positive experience overall… Among the majority who said they had a negative experience of debut publication, anxiety, stress, depression and ‘lowered' self-esteem were cited, with lack of support, guidance or clear and professional communication from their publisher among the factors that contributed.” Many authors who have negative experiences around publishing will push them into the Shadow with denial or self-blame, preferring to keep the dream alive. They won't talk about things in public as this may negatively affect their careers, but private discussions are often held in the corners of writing conferences or social media groups online. Some of the issues are as follows: Repeated rejection by agents and publishers may lead to the author thinking they are not good enough as a writer, which can lead to feeling unworthy as a person. If an author gets a deal, the amount of advance and the name and status of the publisher compared to others create a hierarchy that impacts self-esteem. A deal for a book may be much lower than an author might have been expecting, with low or no advance, and the resulting experience with the publisher beneath expectations. The launch process may be disappointing, and the book may appear without fanfare, with few sales and no bestseller chart position. In The Bookseller report, one author described her launch day as “a total wasteland… You have expectations about what publication day will be like, but in reality, nothing really happens.” The book may receive negative reviews by critics or readers or more publicly on social media, which can make an author feel attacked. The book might not sell as well as expected, and the author may feel like it's their fault. Commercial success can sometimes feel tied to self-worth and an author can't help but compare their sales to others, with resulting embarrassment or shame. The communication from the publisher may be less than expected. One author in The Bookseller report said, “I was shocked by the lack of clarity and shared information and the cynicism that underlies the superficial charm of this industry.” There is often more of a focus on debut authors in publishing houses, so those who have been writing and publishing in the midlist for years can feel ignored and undervalued. In The Bookseller report, 48 percent of authors reported “their publisher supported them for less than a year,” with one saying, “I got no support and felt like a commodity, like the team had moved on completely to the next book.” If an author is not successful enough, the next deal may be lower than the last, less effort is made with marketing, and they may be let go. In The Bookseller report, “six authors—debut and otherwise—cited being dropped by their publisher, some with no explanation.” Even if everything goes well and an author is considered successful by others, they may experience imposter syndrome, feeling like a fraud when speaking at conferences or doing book signings. And the list goes on … All these things can lead to feelings of shame, inadequacy, and embarrassment; loss of status in the eyes of peers; and a sense of failure if a publishing career is not successful enough. The author feels like it's their fault, like they weren't good enough — although, of course, the reality is that the conditions were not right at the time. A failure of a book is not a failure of the person, but it can certainly feel like it! When you acknowledge the Shadow, it loses its power Despite all the potential negatives of traditional publishing, if you know what could happen, you can mitigate them. You can prepare yourself for various scenarios and protect yourself from potential fall-out. It's clear from The Bookseller report that too many authors have unrealistic expectations of the industry. But publishers are businesses, not charities. It's not their job to make you feel good as an author. It's their job to sell books and pay you. The best thing they can do is to continue to be a viable business so they can keep putting books on the shelves and keep paying authors, staff, and company shareholders. When you license your creative work to a publisher, you're giving up control of your intellectual property in exchange for money and status. Bring your fears and issues out of the Shadow, acknowledge them, and deal with them early, so they do not get pushed down and re-emerge later in blame and bitterness. Educate yourself on the business of publishing. Be clear on what you want to achieve with any deal. Empower yourself as an author, take responsibility for your career, and you will have a much better experience. The Shadow in self-publishing or being an indie author Self-publishing, or being an independent (indie) author, can be a fantastic, pro-active choice for getting your book into the world. Holding your first book in your hand and saying “I made this” is pretty exciting, and even after more than forty books, I still get excited about seeing ideas in my head turn into a physical product in the world. Self-publishing can give an author: Creative control over what to write, editorial and cover design choices, when and how often to publish, and how to market Empowerment over your author career and the ability to make choices that impact success without asking for permission Ownership and control of intellectual property assets, resulting in increased opportunity around licensing and new markets Independence and the potential for recurring income for the long term Autonomy and flexibility around timelines, publishing options, and the ability to easily pivot into new genres and business models Validation based on positive reader reviews and money earned Personal growth and learning through the acquisition of new skills, resulting in a boost in confidence and self-esteem A sense of belonging to an active and vibrant community of indie authors around the world Being an indie author can give you all this and more, but once again, there is a Shadow side and preparation can help you navigate potential issues. The myth of success… and the reality of experience As with traditional publishing, the indie author world has perpetuated a myth of success in the example of the breakout indie author like E.L. James with Fifty Shades of Grey, Hugh Howey with Wool, or Andy Weir with The Martian. The emphasis on financial success is also fuelled online by authors who share screenshots showing six-figure months or seven-figure years, without sharing marketing costs and other outgoings, or the amount of time spent on the business. Yes, these can inspire some, but it can also make others feel inadequate and potentially lead to bad choices about how to publish and market based on comparison. The indie author world is full of just as much ego and a desire for status and money as traditional publishing. This is not a surprise! Most authors, regardless of publishing choices, are a mix of massive ego and chronic self-doubt. We are human, so the same issues will re-occur. A different publishing method doesn't cure all ills. Some of the issues are as follows: You learn everything you need to know about writing and editing, only to find that you need to learn a whole new set of skills in order to self-publish and market your book. This can take a lot of time and effort you did not expect, and things change all the time so you have to keep learning. Being in control of every aspect of the publishing process, from writing to cover design to marketing, can be overwhelming, leading to indecision, perfectionism, stress, and even burnout as you try to do all the things. You try to find people to help, but building your team is a challenge, and working with others has its own difficulties. People say negative things about self-publishing that may arouse feelings of embarrassment or shame. These might be little niggles, but they needle you, nonetheless. You wonder whether you made the right choice. You struggle with self-doubt and if you go to an event with traditional published authors, you compare yourself to them and feel like an imposter. Are you good enough to be an author if a traditional publisher hasn't chosen you? Is it just vanity to self-publish? Are your books unworthy? Even though you worked with a professional editor, you still get one-star reviews and you hate criticism from readers. You wonder whether you're wasting your time. You might be ripped off by an author services company who promise the world, only to leave you with a pile of printed books in your garage and no way to sell them. When you finally publish your book, it languishes at the bottom of the charts while other authors hit the top of the list over and over, raking in the cash while you are left out of pocket. You don't admit to over-spending on marketing as it makes you ashamed. You resist book marketing and make critical comments about writers who embrace it. You believe that quality rises to the top and if a book is good enough, people will buy it anyway. This can lead to disappointment and disillusionment when you launch your book and it doesn't sell many copies because nobody knows about it. You try to do what everyone advises, but you still can't make decent money as an author. You're jealous of other authors' success and put it down to them ‘selling out' or writing things you can't or ‘using AI' or ‘using a ghostwriter' or having a specific business model you consider impossible to replicate. And the list goes on… When you acknowledge the Shadow, it loses its power Being in control of your books and your author career is a double-edged sword. Traditionally published authors can criticise their publishers or agents or the marketing team or the bookstores or the media, but indie authors have to take responsibility for it all. Sure, we can blame ‘the algorithms' or social media platforms, or criticise other authors for having more experience or more money to invest in marketing, or attribute their success to writing in a more popular genre — but we also know there are always people who do well regardless of the challenges. Once more, we're back to acknowledging and integrating the Shadow side of our choices. We are flawed humans. There will always be good times and bad, and difficulties to offset the high points. This too shall pass, as the old saying goes. I know that being an indie author has plenty of Shadow. I've been doing this since 2008 and despite the hard times, I'm still here. I'm still writing. I'm still publishing. This life is not for everyone, but it's my choice. You must make yours. The Shadow in work You work hard. You make a living. Nothing wrong with that attitude, right? It's what we're taught from an early age and, like so much of life, it's not a problem until it goes to extremes. Not achieving what you want to? Work harder. Can't get ahead? Work harder. Not making a good enough living? Work harder. People who don't work hard are lazy. They don't deserve handouts or benefits. People who don't work hard aren't useful, so they are not valued members of our culture and community. But what about the old or the sick, the mentally ill, or those with disabilities? What about children? What about the unemployed? The under-employed? What about those who are — or will be — displaced by technology, those called “the useless class” by historian Yuval Noah Harari in his book Homo Deus? What if we become one of these in the future? Who am I if I cannot work? The Shadow side of my attitude to work became clear when I caught COVID in the summer of 2021. I was the sickest I'd ever been. I spent two weeks in bed unable to even think properly, and six weeks after that, I was barely able to work more than an hour a day before lying in the dark and waiting for my energy to return. I was limited in what I could do for another six months after that. At times, I wondered if I would ever get better. Jonathan kept urging me to be patient and rest. But I don't know how to rest. I know how to work and how to sleep. I can do ‘active rest,' which usually involves walking a long way or traveling somewhere interesting, but those require a stronger mind and body than I had during those months. It struck me that even if I recovered from the virus, I had glimpsed my future self. One day, I will be weak in body and mind. If I'm lucky, that will be many years away and hopefully for a short time before I die — but it will happen. I am an animal. I will die. My body and mind will pass on and I will be no more. Before then I will be weak. Before then, I will be useless. Before then, I will be a burden. I will not be able to work… But who am I if I cannot work? What is the point of me? I can't answer these questions right now, because although I recognise them as part of my Shadow, I've not progressed far enough to have dealt with them entirely. My months of COVID gave me some much-needed empathy for those who cannot work, even if they want to. We need to reframe what work is as a society, and value humans for different things, especially as technology changes what work even means. That starts with each of us. “Illness, affliction of body and soul, can be life-altering. It has the potential to reveal the most fundamental conflict of the human condition: the tension between our infinite, glorious dreams and desires and our limited, vulnerable, decaying physicality.” —Connie Zweig, The Inner Work of Age: Shifting from Role to Soul The Shadow in money In the Greek myth, King Midas was a wealthy ruler who loved gold above all else. His palace was adorned with golden sculptures and furniture, and he took immense pleasure in his riches. Yet, despite his vast wealth, he yearned for more. After doing a favour for Dionysus, the god of wine and revelry, Midas was granted a single wish. Intoxicated by greed, he wished that everything he touched would turn to gold — and it was so. At first, it was a lot of fun. Midas turned everything else in his palace to gold, even the trees and stones of his estate. After a morning of turning things to gold, he fancied a spot of lunch. But when he tried to eat, the food and drink turned to gold in his mouth. He became thirsty and hungry — and increasingly desperate. As he sat in despair on his golden throne, his beloved young daughter ran to comfort him. For a moment, he forgot his wish — and as she wrapped her arms around him and kissed his cheek, she turned into a golden statue, frozen in precious metal. King Midas cried out to the gods to forgive him, to reverse the wish. He renounced his greed and gave away all his wealth, and his daughter was returned to life. The moral of the story: Wealth and greed are bad. In Charles Dickens's A Christmas Carol, Ebenezer Scrooge is described as a “squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner.” He's wealthy but does not share, considering Christmas spending to be frivolous and giving to charity to be worthless. He's saved by a confrontation with his lonely future and becomes a generous man and benefactor of the poor. Wealth is good if you share it with others. The gospel of Matthew, chapter 25: 14-30, tells the parable of the bags of gold, in which a rich man goes on a journey and entrusts his servants with varying amounts of gold. On his return, the servants who multiplied the gold through their efforts and investments are rewarded, while the one who merely returned the gold with no interest is punished: “For whoever has will be given more, and they will have an abundance. Whoever does not have, even what they have will be taken from them.” Making money is good, making more money is even better. If you can't make any money, you don't deserve to have any. Within the same gospel, in Matthew 19:24, Jesus encounters a wealthy man and tells him to sell all his possessions and give the money to the poor, which the man is unable to do. Jesus says, “It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.” Wealth is bad. Give it all away and you'll go to heaven. With all these contradictory messages, no wonder we're so conflicted about money! How do you think and feel about money? While money is mostly tied to our work, it's far more than just a transactional object for most people. It's loaded with complex symbolism and judgment handed down by family, religion, and culture. You are likely to find elements of Shadow by examining your attitudes around money. Consider which of the following statements resonate with you or write your own. Money stresses me out. I don't want to talk about it or think about it. Some people hoard money, so there is inequality. Rich people are bad and we should take away their wealth and give it to the poor.  I can never make enough money to pay the bills, or to give my family what I want to provide. Money doesn't grow on trees.  It's wasteful to spend money as you might need it later, so I'm frugal and don't spend money unless absolutely necessary. It is better and more ethical to be poor than to be rich. I want more money. I read books and watch TV shows about rich people because I want to live like that. Sometimes I spend too much on things for a glimpse of what that might be like.  I buy lottery tickets and dream of winning all that money.  I'm jealous of people who have money. I want more of it and I resent those who have it. I'm no good with money. I don't like to look at my bank statement or credit card statement. I live off my overdraft and I'm in debt. I will never earn enough to get out of debt and start saving, so I don't think too much about it. I don't know enough about money. Talking about it makes me feel stupid, so I just ignore it. People like me aren't educated about money.  I need to make more money. If I can make lots of money, then people will look up to me. If I make lots of money, I will be secure, nothing can touch me, I will be safe.  I never want to be poor. I would be ashamed to be poor. I will never go on benefits. My net worth is my self worth. Money is good. We have the best standard of living in history because of the increase in wealth over time. Even the richest kings of the past didn't have what many middle-class people have today in terms of access to food, water, technology, healthcare, education, and more. The richest people give the most money to the poor through taxation and charity, as well as through building companies that employ people and invent new things. The very richest give away much of their fortunes. They provide far more benefit to the world than the poor.  I love money. Money loves me. Money comes easily and quickly to me. I attract money in multiple streams of income. It flows to me in so many ways. I spend money. I invest money. I give money. I'm happy and grateful for all that I receive. The Shadow around money for authors in particular Many writers and other creatives have issues around money and wealth. How often have you heard the following, and which do you agree with? You can't make money with your writing. You'll be a poor author in a garret, a starving artist.  You can't write ‘good quality' books and make money. If you make money writing, you're a hack, you're selling out. You are less worthy than someone who writes only for the Muse. Your books are commercial, not artistic. If you spend money on marketing, then your books are clearly not good enough to sell on their own. My agent / publisher / accountant / partner deals with the money side. I like to focus on the creative side of things. My money story Note: This is not financial or investment advice. Please talk to a professional about your situation. I've had money issues over the years — haven't we all! But I have been through a (long) process to bring money out of my Shadow and into the light. There will always be more to discover, but hopefully my money story will help you, or at least give you an opportunity to reflect. Like most people, I didn't grow up with a lot of money. My parents started out as teachers, but later my mum — who I lived with, along with my brother — became a change management consultant, moving to the USA and earning a lot more. I'm grateful that she moved into business because her example changed the way I saw money and provided some valuable lessons. (1) You can change your circumstances by learning more and then applying that to leverage opportunity into a new job or career Mum taught English at a school in Bristol when we moved back from Malawi, Africa, in the mid '80s but I remember how stressful it was for her, and how little money she made. She wanted a better future for us all, so she took a year out to do a master's degree in management. In the same way, when I wanted to change careers and leave consulting to become an author, I spent time and money learning about the writing craft and the business of publishing. I still invest a considerable chunk on continuous learning, as this industry changes all the time. (2) You might have to downsize in order to leap forward The year my mum did her degree, we lived in the attic of another family's house; we ate a lot of one-pot casserole and our treat was having a Yorkie bar on the walk back from the museum. We wore hand-me-down clothes, and I remember one day at school when another girl said I was wearing her dress. I denied it, of course, but there in back of the dress was her name tag. I still remember her name and I can still feel that flush of shame and embarrassment. I was determined to never feel like that again. But what I didn't realize at the time was that I was also learning the power of downsizing. Mum got her degree and then a new job in management in Bristol. She bought a house, and we settled for a few years. I had lots of different jobs as a teenager. My favourite was working in the delicatessen because we got a free lunch made from delicious produce. After I finished A-levels, I went to the University of Oxford, and my mum and brother moved to the USA for further opportunities. I've downsized multiple times over the years, taking a step back in order to take a step forward. The biggest was in 2010 when I decided to leave consulting. Jonathan and I sold our three-bedroom house and investments in Brisbane, Australia, and rented a one-bedroom flat in London, so we could be debt-free and live on less while I built up a new career. It was a decade before we bought another house. (3) Comparison can be deadly: there will always be people with more money than you Oxford was an education in many ways and relevant to this chapter is how much I didn't know about things people with money took for granted. I learned about formal hall and wine pairings, and how to make a perfect gin and tonic. I ate smoked salmon for the first time. I learned how to fit in with people who had a lot more money than I did, and I definitely wanted to have money of my own to play with. (4) Income is not wealth You can earn lots but have nothing to show for it after years of working. I learned this in my first few years of IT consulting after university. I earned a great salary and then went contracting, earning even more money at a daily rate. I had a wonderful time. I traveled, ate and drank and generally made merry, but I always had to go back to the day job when the money ran out. I couldn't work out how I could ever stop this cycle. Then I read Rich Dad, Poor Dad by Robert Kiyosaki, a book I still recommend, especially if you're from a family that values academic over financial education. I learned how to escape the rat race by building and/or accumulating assets that pay even when you're not working. It was a revelation! The ‘poor dad' in the book is a university professor. He knows so much about so many things, but he ends up poor as he did not educate himself about money. The ‘rich dad' has little formal education, but he knows about money and wealth because he learned about it, as we can do at any stage in our lives. (5) Not all investments suit every person, so find the right one for you Once I discovered the world of investing, I read all the books and did courses and in-person events. I joined communities and I up-skilled big time. Of course, I made mistakes and learned lots along the way. I tried property investing and renovated a couple of houses for rental (with more practical partners and skilled contractors). But while I could see that property investing might work for some people, I did not care enough about the details to make it work for me, and it was certainly not passive income. I tried other things. My first husband was a boat skipper and scuba diving instructor, so we started a charter. With the variable costs of fuel, the vagaries of New Zealand weather — and our divorce — it didn't last long! From all these experiments, I learned I wanted to run a business, but it needed to be online and not based on a physical location, physical premises, or other people. That was 2006, around the time that blogging started taking off and it became possible to make a living online. I could see the potential and a year later, the iPhone and the Amazon Kindle launched, which became the basis of my business as an author. (6) Boring, automatic saving and investing works best Between 2007 and 2011, I contracted in Australia, where they have compulsory superannuation contributions, meaning you have to save and invest a percentage of your salary or self-employed income. I'd never done that before, because I didn't understand it. I'd ploughed all my excess income into property or the business instead. But in Australia I didn't notice the money going out because it was automatic. I chose a particular fund and it auto-invested every month. The pot grew pretty fast since I didn't touch it, and years later, it's still growing. I discovered the power of compound interest and time in the market, both of which are super boring. This type of investing is not a get rich quick scheme. It's a slow process of automatically putting money into boring investments and doing that month in, month out, year in, year out, automatically for decades while you get on with your life. I still do this. I earn money as an author entrepreneur and I put a percentage of that into boring investments automatically every month. I also have a small amount which is for fun and higher risk investments, but mostly I'm a conservative, risk-averse investor planning ahead for the future. This is not financial advice, so I'm not giving any specifics. I have a list of recommended money books at www.TheCreativePenn.com/moneybooks if you want to learn more. Learning from the Shadow When I look back, my Shadow side around money eventually drove me to learn more and resulted in a better outcome (so far!). I was ashamed of being poor when I had to wear hand-me-down clothes at school. That drove a fear of not having any money, which partially explains my workaholism. I was embarrassed at Oxford because I didn't know how to behave in certain settings, and I wanted to be like the rich people I saw there. I spent too much money in my early years as a consultant because I wanted to experience a “rich” life and didn't understand saving and investing would lead to better things in the future. I invested too much in the wrong things because I didn't know myself well enough and I was trying to get rich quick so I could leave my job and ‘be happy.' But eventually, I discovered that I could grow my net worth with boring, long-term investments while doing a job I loved as an author entrepreneur. My only regret is that I didn't discover this earlier and put a percentage of my income into investments as soon as I started work. It took several decades to get started, but at least I did (eventually) start. My money story isn't over yet, and I keep learning new things, but hopefully my experience will help you reflect on your own and avoid the issue if it's still in Shadow. These chapters are excerpted from Writing the Shadow: Turn Your Inner Darkness Into Words by Joanna Penn  The post Writing The Shadow: The Creative Wound, Publishing, And Money, With Joanna Penn first appeared on The Creative Penn.

Daily Dose of Hope January 19, 2026   Scripture: I Thessalonians 5   Prayer:  A prayer from Martin Luther King, Jr... Thou Eternal God, out of whose absolute power and infinite intelligence the whole universe has come into being, we humbly confess that we have not loved thee with our hearts, souls and minds, and we have not loved our neighbors as Christ loved us. We have all too often lived by our own selfish impulses rather than by the life of sacrificial love as revealed by Christ. We often give in order to receive. We love our friends and hate our enemies. We go the first mile but dare not travel the second. We forgive but dare not forget. And so as we look within ourselves, we are confronted with the appalling fact that the history of our lives is the history of an eternal revolt against you. But thou, O God, have mercy upon us. Forgive us for what we could have been but failed to be. Give us the intelligence to know your will. Give us the courage to do your will. Give us the devotion to love your will. In the name and spirit of Jesus, we pray. Amen.   Welcome back to the Daily Dose of Hope, the devotional and podcast that goes along with the New Hope Church daily Bible reading plan.  We are currently journeying through Paul's letters.  Right now, we are walking through I Thessalonians.   Today, we read I Thessalonians 5.   Paul is focusing on the end times not to scare people or bully people into accepting Jesus.  Rather, these words were intended to provide comfort to his congregations.  He is reiterating some of Jesus' teaching here – how the Lord's return will come like a thief in the night.  Paul doesn't quote the Gospels directly but we can see here in this letter, that Jesus' teaching was part of Paul's teaching.    Paul tells them to be alert and sober.  This would have been in contrast to many in the area.  Dionysus, the god of wine, was worshiped in Thessalonica, and his late night parties were known for being wild and crazy events.  The Thessalonians, then, needed to reject those false gods to serve the living God.  In doing so, they will be children of the light/day, awake, alert, watchful.   Jesus' return and their identity as people of the light/day are intended to be words of encouragement to them.  They have nothing to fear when the Lord comes but will actually excel even more.  There is much to be excited for and they are to encourage one another with this hope.   This is fascinating to me.  We don't typically encourage each other by remembering that Jesus will return.  Unfortunately, popular media and Hollywood have made people, even Christians, afraid of Jesus' return.  And we have nothing to be scared of!  For the Thessalonians, this was the ultimate hope.  It was a reminder that this world, and the persecutions and hardships they faced, were temporary.  But they would eventually be with Jesus forever.   Does this give you hope?  Why or why not?   Blessings, Pastor Vicki  

Faun discusses a transformative experience under an elder tree at a crossroads, experiencing The Hat Man as a teenager and a childhood memory of a transparent young girl . Faun came on pilgrimage to Britain and met some of us at the MFSP patreon community meet up in Glastonbury. They had many synchronicities and profound experiences during their journey: an archetypal-looking pilgrim who kept appearing and a person whom appeared to be channelling Dionysus on Glastonbury Tor. In the BONUS EXCLUSIVE FULL-LENGTH VIDEO VERSION on Patreon we hear about the powerful qualities of Elder and Faun shares a further experience with Orbs and a malevolent manifestation which took place in her mothers bedroom. Music in this episode: Fae Transit by Sam McLoughlin https://folkloretapes.bandcamp.com/album/fae-transit ⭐️ JOIN THE MODERN FAIRY SIGHTINGS COMMUNITY ⭐️ ⁠⁠⁠https://www.patreon.com/c/themodernfairysightingspodcast/membership⁠⁠⁠ If you're looking for exclusive bonus material, monthly zoom chats with like-minded folks, access to the Discord chat channels, quiet meditation gatherings and meeting other members, join us at: ⁠⁠⁠ https://www.patreon.com/c/themodernfairysightingspodcast/membership⁠⁠⁠ S U P P O R T If you'd prefer to support the Modern Fairy Sightings with a one off donation, you can ‘buy me a coffee' and I'd be very grateful

Our critical review of The Secrets of Greek Mysticism by George Lizos, and why this book is so problematic in its ideologies, from starseed propaganda to Mr. Lizos's rejection of scholarship.Why have online “influencers” promoted this book to their audiences? Many of their critiques focus on surface-level issues, such as the absence of Hades or Hekate, Xenia and Dionysus while missing the far more serious problem: this book aligns itself with New Age propaganda and ancient alien beliefs, ultimately leading people astray in their understanding of ancient Greek history, mythology, and ancient Greek religion.Chapters:(00:00) Why are we doing this?(08:04) The starseed propaganda(18:55) Claims all scholars are wrong?(29:35) Greek gods are love and light?(36:03) Zeus isn't a monarch, ascension and soul contracts?(41:35) Misogynistic view on goddesses(44:50) Artemis is “control”?(49:41) Hera is the maiden, mother and crone?(53:12) Hestia is boring and blasé?(58:24) The apple of discord and his theology?(1:00:14) Where is the “mysticism”?(1:09:15) Calling out the “influencers” that promoted this bookCalling all devotees to Styx and Bones that are content creators! Join the Styx and Bones Temple new affiliate marketing program: https://www.crystalmoonclarity.com/affiliate-marketing Check out our Patreon, Styx and Bones Temple's Store, Blogs and more! ⁠⁠⁠https://beacons.ai/styxandboness⁠FOLLOW STYX AND BONES ON SOCIAL MEDIAhttps://www.instagram.com/styxandbonespodcast⁠⁠⁠FOLLOW HIGH PRIESTESS CHELSEA⁠https://www.instagram.com/highpriestesschelsea⁠⁠⁠FOLLOW DR. K⁠⁠⁠https://www.instagram.com/dirtdiaries_⁠⁠⁠

Cats Cradle is inspired by the Greek myth Ariadne and her journey from Crete to Naxos. Like The Fates, she is associated with the symbol of the thread, which she uses to help Theseus kill the Minotaur. Central to Ariadne's story is her deification, her transcendence from mortal to divine through a union with Dionysus. By revisiting this ancient myth, Cats Cradle invites viewers to reflect on how they navigate their own inner labyrinths of identity and transformation. https://www.instagram.com/allysonglennart/ https://www.facebook.com/allyson.glenn.1/ What motivated you to make this film? I was preparing for a solo art exhibition called Date with Hermes: Journeying between Dreams and Reality for the Vorres Museum in Greece (2024). The curator, Dr. Katerina Pizania, suggested I create an animation to connect the Greek myth themes. While the show focused on large-scale paintings and works on paper, the film became a companion piece to my series on Ariadne and Dionysus. From the idea to the finished product, how long did it take for you to make this film? I only had two months to develop the animation for the first exhibition, so the first version was more of an “outline.”Completing the film took a year and a half. How would you describe your film in two words!? Intense! What was the biggest obstacle you faced in completing this film? Time! As a full-time Associate Professor at the University of Saskatchewan, Canada, I worked on the animation during weekends with invaluable help from students and alumni. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Quite a few reigns come and go as we head towards 916 BCE. Perhaps the most noteworthy of them all is that of Tiberinus- who drowns in the Albula river during a battle and becomes a god...Sources for this episode:Appian (1972), Appian's Roman History in Four Volumes (Volume I). London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Diodorus of Sicily (1993), The Library of History Books IV.59- VIII. Translated by C. H. Oldfather. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Ovid (1959), Ovid's Fasti. Translated by J. G. Frazer. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Ovid (1968), The Metamorphoses of Ovid. Translated by M. M. Innes. Harmondsworth: Penguin Books Ltd.Sextus Aurelius Victor (2004), Origo Gentis Romanae: The Origin of the Roman Race. Translated by K. Haniszewski, L. Karas, K. Koch, E. Parobek, C. Pratt and B. Serwicki. Canisius College Translated Texts 3. Canisius College, Buffalo, New York.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.

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This week Amanda and Victoria discuss the god Dionysus and the play The Bacchae by Euripides.

From about 1030 BCE, all of our sources about Alba Longa and its kings crumble into disagreement. Get ready for tales of heirs saving puppies in housefires, three kings at once, and whether the recording room of Autocrat is still haunted.Sources for this episode:Appian (1972), Appian's Roman History in Four Volumes (Vol. I). London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Diodorus of Sicily (1993), The Library of History Books IV.59- VIII. Translated by C. H. Oldfather. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus (Volume I). Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Ovid (1959), Ovid's Fasti. Translated by J. G. Frazer. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Ovid (1968), The Metamorphoses of Ovid. Translated by M. M. Innes. Harmondsworth: Penguin Books Ltd.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.

My links:My Ko-fi: https://ko-fi.com/rhetoricrevolutionSend me a voice message!: https://podcasters.spotify.com/pod/show/liam-connerlyTikTok: ⁠https://www.tiktok.com/@mrconnerly?is_from_webapp=1&sender_device=pc⁠Email: ⁠rhetoricrevolution@gmail.com⁠Instagram: https://www.instagram.com/connerlyliam/Podcast | Latin in Layman's - A Rhetoric Revolution https://open.spotify.com/show/0EjiYFx1K4lwfykjf5jApM?si=b871da6367d74d92YouTube: https://www.youtube.com/@MrConnerly 

He's finally here! Aeneas II of Alba Longa! Long may he reign gloriously! Get ready for mighty battles, great conquests, soaring triumphs and... what's that? Ovid, Livy and Cassius Dio want to have a word? Well of course, I- what do you mean the history books are empty?Sources for this episode:Appian (1972), Appian's Roman History in Four Volumes (Volume I). London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Diodorus of Sicily (1993), The Library of History Books IV.59- VIII. Translated by C. H. Oldfather. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Ovid (1968), The Metamorphoses of Ovid. Translated by M. M. Innes. Harmondsworth: Penguin Books Ltd.Sextus Aurelius Victor (2004), Origo Gentis Romanae: The Origin of the Roman Race. Translated by K. Haniszewski, L. Karas, K. Koch, E. Parobek, C. Pratt and B. Serwicki. Canisius College Translated Texts 3. Canisius College, Buffalo, New York.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.

My links:My Ko-fi: https://ko-fi.com/rhetoricrevolutionSend me a voice message!: https://podcasters.spotify.com/pod/show/liam-connerlyTikTok: ⁠https://www.tiktok.com/@mrconnerly?is_from_webapp=1&sender_device=pc⁠Email: ⁠rhetoricrevolution@gmail.com⁠Instagram: https://www.instagram.com/connerlyliam/Podcast | Latin in Layman's - A Rhetoric Revolution https://open.spotify.com/show/0EjiYFx1K4lwfykjf5jApM?si=b871da6367d74d92YouTube: https://www.youtube.com/@MrConnerly 

Today on Nephilim Death Squad, we're joined again by Jamie Dyer—researcher, author, and co-host of Jay's Analysis—for a deep dive into the Cults of the First Century and how ancient goddess worship, mystery religions, Rome, Babylon, and early Christian persecution mirror exactly what we're seeing in culture today.We cover:

Pausing our narrative with the death of Silvius in 1111 BCE, we follow his exiled younger son Brutus, who winds up in Britain after a series of Odyssey-style adventures and becomes its first king. His family will rule Britain for centuries according to the mythological narrative of Geoffrey of Monmouth, taking us all the way to the epoch of Rome's founding before we circle back next week to deal with Aeneas II...Sources for this episode:Baker, R. (1670), A Chronicle of the Kings of England. London: Printed for George Sawbridge.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Frazer, J. G. (1921), Apollodorus: The Library (Volume II). London: William Heinemann.Geoffrey of Monmouth (1966), The History of the Kings of Britain. Translated by L. Thorpe. Harmondsworth: Penguin Books Ltd.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Marks, A. and Tingay, G. (date unknown), Romans. London: Usborne Publishing.Shakespeare, W. (2014), The Complete Works of William Shakespeare. New York: Race Point Publishing.William of Malmesbury (1847), William of Malmesbury's Chronicle of the Kings of England. London: Henry G. Bohn, York Street, Covent Garden.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.Author unknown, Wikipedia (date unknown), Silvius (online) (Accessed 05/09/2024).Author unknown, Wikipedia (date unknown), Totnes (online) (Accessed 05/09/2024).

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The night breaks and a mountain appears. We step out of the eighth house and into the ninth, following a mythic trail across four Greek peaks—Helicon, Delphi on Parnassus, Olympus, and Pelion—to understand how vision is born, tested, codified, and taught. This is a journey from trauma to Pegasus, from memory to the Muses, from riddled answers to living oracles, from the banquet of certainty to the humility of service, and finally to Chiron's cave where purpose is shaped into skill.We start with Helicon, where Perseus' severing of Medusa gives rise to Pegasus and the Hippocrene, the spring that nourishes the nine Muses. History, music, comedy, tragedy, dance, love poetry, hymns, astronomy, and epic become living conduits for meaning. Hesiod's insight that the Muses can speak convincing falsehoods as well as truth becomes our caution against dogma; ninth house wisdom is movement, not marble. At Delphi, we find the Omphalos, the eagle-eye view, and the Pythia's forked speech. Apollo's light and Dionysus' winter rule alternate, teaching us to hold both clarity and mystery. Prophecy arrives obliquely and unfolds over time, working on the imaginal mind that can carry insight back into life.On Olympus, the ninth house expands into ethics, law, and systems—the “we think” that shapes culture. Zeus' knowledge is not solitary; it's conjoined with Metis, the oceanic intelligence that tempers sky-high judgment. We explore the lure and limits of certainty and remember Ganymede's role as cupbearer: service as a path to perspective. Finally, we reach Pelion, where Chiron mentors heroes and healers—Jason, Achilles, Asclepius—grounding lofty aims in hands-on craft, medicine, and embodied practice. The fire-house arc aligns identity, joy, and purpose so that the tenth house can build the road our aim has set.Along the way, Ocyrrhoe's tale warns against revealing everything too soon; mystery gives meaning its depth. If Helicon inspires, Delphi questions, Olympus orders, and Pelion mentors, which mountain is yours? Press play to find an eagle-eye view that still honors the serpent's wisdom, and carry that vision into the work you offer the world. If this exploration sparked something, follow the show, share it with a friend, and leave a quick review to help others find their way to the summit.*The above was auto-generated by Buzzsprout's AICover Art: Simon Vouet (1590-1649) The Muses Urania and Calliope, 1634 ca.Join the Newsletter! Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

Narrator: Thomas Jones

With Ascanius gone, his half-brother Silvius- the posthumous son of Aeneas and Lavinia- steps into the narrative. This week on Autocrat, a contested royal election, murky regency timelines, and the podcast hosts declaring war on Titus Livius.Would you be interested in a discussion on what the historical founding of Rome was like outside of its mythological origins? Let us know!Sources for this episode:Appian (1972), Appian's Roman History in Four Volumes (Volume I). London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Diodorus of Sicily (1993), The Library of History Books IV.59- VIII. Translated by C. H. Oldfather. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Meade, G. (2021), Romans, Religion and the Aid of the Gods: An Exploration of the Pontifex Maximus in Roman Society. Portland State University: University Honors Theses: 1035.Ovid (1959), Ovid's Fasti. Translated by J. G. Frazer. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Ovid (1968), The Metamorphoses of Ovid. Translated by M. M. Innes. Harmondsworth: Penguin Books Ltd.Sextus Aurelius Victor (2004), Origo Gentis Romanae: The Origin of the Roman Race. Translated by K. Haniszewski, L. Karas, K. Koch, E. Parobek, C. Pratt and B. Serwicki. Canisius College Translated Texts 3. Canisius College, Buffalo, New York.Suetonius (1983), The Twelve Caesars. Translated by R. Graves. Harmondsworth: Penguin Books Ltd.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.Sources for the pope's pontifical association (even if not outright calling him pontifex maximus):Kelly, J. N. D. (1996), Oxford Dictionary of Popes. Oxford: Oxford University Press.Author unknown (1916), The Book of the Popes (Liber Pontificalis) (Volume I). Translated by L. R. Loomis. New York: Columbia University Press.

Alba Longa is here! Pig City! Or Long White City. Or Longtown... The etymology is disputed. As is pretty much everything else from the reign of Ascanius! Join us for revisions of our timeline from episode 77, a wine obsession on the part of Dionysus of Halicarnassus, and far too much of our Auto-cat Felix disrupting recording.Sources for this episode:Appian (1972), Appian's Roman History in Four Volumes (Vol. I). London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dio (1961), Dio's Roman History (Volume I). Translated by E. Cary. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Diodorus of Sicily (1993), The Library of History Books IV.59- VIII. Translated by C. H. Oldfather. London and Cambridge, Massachusetts: William Heinemann Ltd. and Harvard University Press.Dionysus of Halicarnassus (1960), The Roman Antiquities of Dionysus of Halicarnassus. Translated by E. Cary. Cambridge, Massachusetts and London: Harvard University Press and William Heinemann Ltd.Eutropius (1760), Eutropius; Epitome of the Roman History. London: Printed for W. Johnston et al.Livy (1971), The Early History of Rome. Translated by A. de Sélincourt. Harmondsworth: Penguin Books Ltd.Ovid (1968), The Metamorphoses of Ovid. Translated by M. M. Innes. Harmondsworth: Penguin Books Ltd.Sextus Aurelius Victor (2004), Origo Gentis Romanae: The Origin of the Roman Race. Translated by K. Haniszewski, L. Karas, K. Koch, E. Parobek, C. Pratt and B. Serwicki. Canisius College Translated Texts 3. Canisius College, Buffalo, New York.Virgil (1976), The Aeneid. Translated by W. F. J. Knight. London: Penguin Books Ltd.Wilkinson, P., Carroll, G., Faulkner, M., Field, J. F., Haywood, J., Kerrigan, M., Philip, N., Pumphrey, N. and Tocino-Smith, J. (2018), The Mythology Book. London: Dorling Kindersley Ltd.Author unknown (date unknown), Nuremberg Chronicle: being the Liber Chronicarum of Dr. Hartmann translated in English. Morse Library, Beloit College.Author unknown, Wikipedia (date unknown), Dionysus of Halicarnassus (online) (Accessed 23/11/2025).Author unknown, Wikipedia (date unknown), Falerna (online) (Accessed 23/11/2025).

Behind the Wall of Illusion- Sean MacLeodHere are a few things you will discover from this text: How the Beatles expressed a modern take on the ancient Greek god Dionysus, How the title Yellow Submarine brings together male and female symbolism, That John Lennon's first experience with LSD influenced the song ‘Help!', Why the Beatles' hair cultivated spiritual connotations, How the film Magical Mystery Tour foreshadowed John's murder.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

J.S. aka Jeffrey Groves https://www.patreon.com/cw/jsgroves returns to speak with Luxa https://linktr.ee/LuxaStrata about how to recover from creative or magical burnout, and what to do when you're starting to realize you're experiencing it. Jeffrey also shares about writing the series, The Prince's Fighter's, “ritual play” and xier photography work, including capturing magical operations like invocation, experimenting with spirit photography and more. Luxa shares about the experience of modeling for such shoots, communion with Austin Osman Spare and invoking Venus Victrix. Diversions include paranormal investigation photography, talismanic jewelry, botthole haikus and more!Thanks for listening to the Lux Occult Podcast! Support the show by helping Luxa buy books and curtail other costs, as well as taking a bibliomancy break by giving on Patreon: https://www.patreon.com/luxoccult . Or, Buy Me a Coffee.com is an option for a one time donation: https://www.buymeacoffee.com/luxoccultpod?new=1 We would love to hear from you! Please send your thoughts, questions, suggestions or arcane revelations to luxoccultpod@gmail.com or message on Instagram @luxoccultpod https://www.instagram.com/luxoccultpod/ and on BlueSky https://bsky.app/profile/luxastrata919.bsky.socialGreen Mushroom Project https://greenmushroomproject.com/ Ask for a link to our Discord server!Merch! https://www.etsy.com/shop/IlluminIndustries?ref=shop_profile&listing_id=1880570110Jeffrey Groves http://jsgroves.com/ The Prince's Fighters novel https://princesfighters.jsgroves.com/The Sorcerer's Workbench https://www.etsy.com/shop/sorcerersworkbench/?etsrc=sdtReferenced in today's episode:66. Dionysus and the Sorcerer's Workbench w/ JS Groves & the Game of Identity w/ Art Worldbuilding https://podcasters.spotify.com/pod/show/luxa-strata/episodes/66--Dionysus-and-the-Sorcerers-Workbench-w-JS-Groves--the-Game-of-Identity-w-Art-Worldbuilding-e28numnVoid House Presents: Trauma Informed Practices or “Just the TIPs”https://youtu.be/gCrTpfsAAHcLeopold von Sacher-Masochhttps://en.wikipedia.org/wiki/Leopold_von_Sacher-MasochCool People Who Did Cool Stuff Podcast Part One: Riot Dogs Are Very Good Dogshttps://www.iheart.com/podcast/1119-cool-people-who-did-cool-96003360/episode/part-one-riot-dogs-are-very-115624059/?embed=trueCool People Who Did Cool Stuff Podcast Part Two: Riot Dogs Are Very Good Dogshttps://www.tapesearch.com/episode/part-two-riot-dogs-are-very-good-dogs/NFEvDfVGVECcS3HywsnVy4‘The Tradition' by Jericho Brown https://poets.org/poem/traditionFind Luxa's work published in Serpents of Circe: A Manual to Magical Resilience edited by Laura Tempest Zakroff and Ron Padrón https://revelore.press/product/serpents-of-circe-a-manual-to-magical-resilience/Lux Occult is produced by Luxa Strata. All rights reserved. 2025.

Send us a textIn this landmark episode of the Magick Kitchen Podcast, hosts Leandra Witchwood and Elyse Welles sit down with spiritual teacher, psychic healer, and bestselling author George Lizos to explore the modern revival of Hellenic polytheism — the living religion of the ancient Greek gods.George shares his groundbreaking experience performing the first Hellenic polytheist wedding in Cyprus, what it means to practice an evolving ancient faith, and how community, ritual, and activism are helping restore sacred traditions to modern life. Together, they dive deep into the real essence of the Greek gods — beyond myth — and explore how these deities represent universal laws, virtues, and living forces that guide us today.From the mysteries of Zeus and Aphrodite to the misunderstood roles of Hekate and Dionysus, this conversation bridges witchcraft and religion, exploring how the old ways are alive, evolving, and deeply needed in our world.

In this episode I look at Page duBois' examination of polytheism in theory and practice in her book A Million and One Gods. I focus on the Greek Gods Artemis and Dionysus, and the political implications of polytheism.

Hear the word "Dionysus" and you picture the Greek god of ecstasy: overflowing tables, delirious revelry, chaos. Not the austere soundworld of Guy Brewer, AKA Carrier. On the surface, the UK artist's latest alias feels almost Spartan. But look closer and the Dionysian link starts to show: it's about shedding fixed forms and identities, to allow something more true, more alive, to form. RA.1011 marks Brewer's third entry in the RA Mix series, following editions as drum & bass outfit Commix (RA.269) and, later, the techno alias Shifted (RA.310). "I guess it's an effort to step away from purism," Brewer told Resident Advisor back in 2023. "Right now the thresholds between genres are where you find the most exciting music." Carrier's phenomenal debut album, Rhythm Immortal, delivers on that promise. Low-end pressure cloaks like foreboding shadows, punctured only by eerie, otherworldly percussion comparable only to Photek or T++. Listen to the LP in full and it feels like walking through a scene in a true-crime drama: a fog-drenched city street in the deep of night, ambushed by gusts of wind, whispers and strange noises—and it sounds totally, utterly original. Tracing a line through dub pressure, fractured percussion and narcotic ambience, Brewer explores that same world on RA.1011. As with the album, there's a primal pulse that threads through the recording. Walls of negative space seem to hover before dissolving inexplicably, their tension intact; drums move more like the weather than rhythm. - Bella Aquilina

Historian Charles H. Kahn wrote that Pythagorean contributions to Western thought were "on the one hand, a mathematical understanding of the world of nature; and, on the other hand, a conception of human destiny that points beyond the visible world and beyond the mortal body to a higher form of life." Unfortunately, for the following 2,500 years, we took the first part: logic and reason, and largely discarded the other: intuition and imagination. Or, as Nietzsche put it in The Birth of Tragedy, we chose to rely heavily on our Apollonian side (yang) while neglecting our Dionysian side (yin).  And here we are, in a world of contradictions which are becoming ever more acute with the astounding recent advancements of Artificial Intelligence, which is of course based on numbers (in fact, it was Pythagoras who said, "everything known is a number").  How do we go back to the Pythagorean tradition? How do we restore balance between Apollo and Dionysus?  On this special evening, we will attempt to do just that. We will start with a talk by Edward Frenkel, mathematician, Berkeley professor, and author of Love and Math (currently out in 20 languages) who considers himself a Pythagorean. He will provide the context and the background. His talk will be followed by a ceremony, administered not by a priest or shaman but, as is more common these days, by DJs.  During the dance party following Edward Frenkel's talk, DJ Wilder (Anna Fedorova) will dazzle us with music sourced from different genres and epochs, followed by Edward Frenkel himself (as DJ Moonstein) playing back-to-back with Cihat Fitzgerald (DJ Chi) taking us further into the unknown. Magic awaits. A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. Frenkel photo courtesy the speaker; public domain painting is "Pythagoreans Celebrate the Sunrise" by Fyodor Bronnikov. Organizer: George Hammond  Learn more about your ad choices. Visit megaphone.fm/adchoices

Who was Dionysus, the son of Zeus, and Greek god of ecstasy, revelry and madness? Why was he so central to the ancient Greeks? What is the story of the Bacchae, the play in which a young man is ripped apart by the handmaidens of the goddess Artemis? What did it mean to be a Bacchae, one of the followers of Dionysus, and what shocking acts did it entail? Why were female cults like this believed to be integral to the survival of Athens? How did Dionysus' cult subvert all the conventions of Ancient Greek society? What hedonistic revels occurred at his festivals every year? And, what hidden secrets about his historical origins have been unlocked by subsequent archaeological discoveries…? Join Tom and Dominic as they discuss one of the most exotic and erotic of the Greek gods: Dionysus, and the origins of The Bacchae, the tragedy that immortalised his story, but also transformed Greek drama, and thereby the world, forever… Try Adobe Express for free now at https://www.adobe.com/uk/express/spotlight/designwithexpress?sdid=HM85WZZV&mv=display&mv2=ctv or by searching in the app store. Learn more at https://www.uber.com/onourway Join The Rest Is History Club: Unlock the full experience of the show – with exclusive bonus episodes, ad-free listening, early access to every series and live show tickets, a members-only newsletter, discounted books from the show, and access to our private Discord chatroom. Sign up directly at therestishistory.com For more Goalhanger Podcasts, head to www.goalhanger.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude  Video Producer: Bruno Di Castri + Jack Meek Social Producer: Harry Balden Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

What happens when we venture beyond the horizon of self and encounter the world? In this profound continuation of our houses journey, Brian Clark and I explore the second half of the astrological wheel - where we meet the other, confront our shadows, and discover our place in the cosmic order.Recorded during a solar eclipse at the equinox (coinciding with Brian's 76th birthday), our conversation takes on a synchronistic quality that exemplifies how astrology works through us rather than merely being studied by us. Following the thread of Ariadne from Greek mythology, we explore how she reveals family secrets, follows the heroic impulse, and ultimately finds her way to the center after being abandoned - mirroring our own soul journey.The seventh house brings us to the horizon where we encounter "the other" - that quality in relationships that reveals parts of ourselves we've yet to recognize. As Brian notes, "We marry our own shadow." Moving into the eighth, we face "loving in the face of loss" and discover how betrayal becomes a pathway to consciousness. The ninth house offers rebirth into spirit and wonder, while the tenth shapes our character through vocation and contribution. We then explore the communal eleventh house before concluding with the twelfth - a sanctuary for our exiled parts that need integration.Throughout our dialogue, we return to Ariadne staring at the sea as Theseus abandons her, then turning toward the center of Naxos where Dionysus awaits. This powerful image captures how our greatest disappointments often lead us to our truest path - when we give back to the sea what was never truly ours and find ourselves essential parts of something greater.How might your relationship struggles be mirrors revealing aspects of yourself? What ancestral patterns are you carrying in your intimate connections? Where do you find genuine rebirth after painful losses? Join us for this expansive exploration of how we become ourselves through our encounter with the world.* The blurb above was generated by Buzzprout's AITo find out more about Brian's work go to astrosynthesis.com.au.Podcast Musician: Marlia CoeurPlease consider becoming a Patron to support the show!Go to OnTheSoulsTerms.com for more.

This is the full podcast of Midas, A Folly in Two Acts & an Epilogue, which was previously dropped as discrete episodes but is available now in its shimmering entirety! Everyone thinks they know the story of Midas and the Golden Touch, some even know the concomitant story of Midas and the Donkey Ears, but there is even more to know about this foollish king of Phrygia than those two stories.Why did Midas get the Golden Touch in the first place? What did that have to do with Dionysus the god and the satyr Silenus? And will Dan ever get paid?Why did Midas get the Donkey Ears? How was this, too, an instance of his foolishness? Was he a racist?How did Midas die in the end? Was he really punished through eternity in Tartarus for his sins?There is a reason this story is a classic as the material herein has multiple parallels to events and persons throughout history not to mention the present day. Enjoy, and thank you for tuning in.

By request, we are looking at the Virgin Mary in this week's podcast, in particular the "dark Feminine" elements of her mythology. An exploration into Mary (or Maryam), mother of Jesus reveals various layers of her myth and the doctrines surrounding her. This includes the myth of the dying and resurrecting vegetation god, some striking parallels with Semele, mother of Dionysus, the heroic myth of the Virgin Birth and the Divine Child, and the social implications of her role in the Bible and other texts from the early Church to the medieval period. 

Episode 2.36Texts, Myths, and ManuscriptsIs the New Testament historically trustworthy—or just a rewritten patchwork of pagan myths? In this episode of Take 2 Theology, Zach and Michael respond to online critics who claim the Bible is unreliable and Jesus is just a recycled myth.Covered in this episode:– What do textual variants actually show?– How do the Dead Sea Scrolls impact our confidence in Scripture?– How was the New Testament canon formed—and does it hold up under scrutiny?– Are the popular “copycat messiah” claims (Horus, Mithras, Dionysus, etc.) grounded in truth or internet fiction?Drawing from respected scholars like Bart Ehrman, N.T. Wright, and Ronald Nash, this episode unpacks the facts and clears the fog—so you can know what the Bible really is and why it still stands.Lutheran Satire Video--Horace Ruins Christmas: https://youtu.be/s0-EgjUhRqA?si=dNr0t7vhazj-AfkmDavid Wood is the gentleman whose first name Michael could not remember.Jesus, Recycled Redeemer? (STR Article): https://www.str.org/w/jesus-recycled-redeemer-Person of Interest by J. Warner Wallace: https://coldcasechristianity.com/person-of-interest-by-j-warner-wallace/Books by Michael Kruger on the Canon:https://a.co/d/fqYyP8zhttps://a.co/d/gLaG99dProminent atheists and skeptics who converted to Christianity:C. S. Lewis (Oxford scholar, Mere Christianity), Francis Collins (geneticist, The Language of God), Alister McGrath (theologian, The Dawkins Delusion), Rosalind Picard (MIT professor), Allan Sandage (cosmologist), Anthony Flew (philosopher, late-life belief in God), A. N. Wilson (novelist/biographer), Guillaume Bignon (French philosopher), Malcolm Muggeridge (journalist/satirist), Lee Strobel (The Case for Christ), Andrew Klavan (novelist/screenwriter), Jennifer Fulwiler (Something Other Than God), J. Warner Wallace (cold-case detective, Cold-Case Christianity), Abdu Murray (former Muslim apologist), Nabeel Qureshi (Seeking Allah, Finding Jesus), and Jonathan Noyes (former atheist lawyer, now apologist with Stand to Reason).Find our videocast here: https://youtu.be/rPZV4u8C1zcMerch here: https://take-2-podcast.printify.me/Music from #Uppbeat (free for Creators!):⁠https://uppbeat.io/t/reakt-music/deep-stone⁠License code: 2QZOZ2YHZ5UTE7C8Find more Take 2 Theology content at http://www.take2theology.com

Today we dive deep into the legendary Greek mythology love story of Dionysus and Ariadne. Discover how Ariadne, the abandoned princess of Crete, found love with Dionysus, the god of wine and ecstasy. From her heartbreak with Theseus to receiving a crown of stars and a place among the gods, Ariadne's myth is one of empowerment, resilience, and romance and is one of our favorite myths here at Styx and Bones podcast too!Chapters:Intro (0:00)What Are the Girls Doing? (6:00)Reconstructing Ancient Greek Religion, Persephone Deep Dives + Community Lives (13:15)Update on Zeus and Joe Story (20:07)Dionysus and Ariadne (27:31)Is Ovid for the Girls? (36:45)Dionysus vs. Theseus (42:45)Bad Dating Stories and Getting Our Own Crown of Stars (50:46)Final Thoughts on the Love Between Ariadne + Dionysus (1:00:11)Check out our Patreon, Styx and Bones Temple's Store, Blogs and more!⁠⁠https://beacons.ai/styxandbonessFOLLOW STYX AND BONES ON SOCIAL MEDIA⁠⁠https://www.instagram.com/styxandbonespodcast⁠⁠FOLLOW HIGH PRIESTESS CHELSEA⁠⁠https://www.instagram.com/highpriestesschelsea⁠⁠FOLLOW DR. K⁠⁠https://www.instagram.com/dirtdiaries_⁠⁠

Natasha Pulley has, at times, called Japan, China, and Peru home She teaches creative writing students at Bath Spa University and is the international bestselling author of several novels, including The Watchmaker of Filigree Street, The Bedlam Stacks, The Mars House, and her latest, The Hymn to Dionysus. Natasha chats about her choice of narrator for The Hymn to Dionysus, writing a character with PTSD, which character in the book is most like her, the appeal of writing about ghosts, and more! For more information about Natasha and The Hymn to Dionysus, visit Natasha's website https://natashapulley.co.uk/ or follow her on Instagram https://www.instagram.com/natasha_pulley/

Ever wondered how people fall in love with Greek mythology? From Percy Jackson to Disney's Hercules, and even modern myth-inspired works like Epic: The Musical, we explore all the ways these legendary stories capture our hearts. Join us as we dive into myth retellings, the myths that first drew us in, and where YOU can start your own journey into the world of the Greek gods.Timestamps:(0:00) Intro(2:28) Thoughts on Greek Myth Retellings(8:17) Tyche, Hades & Epic: The Musical in the Mystery Cult(10:18) Dionysus & Hermes Restock(11:20) Gateways to Greek Mythology: Percy Jackson, Hercules & More(19:18) How We Got Into Greek Mythology & the Gods(30:03) Where to Start in Greek Mythology(36:26) The First Myth That Hooked Us(41:26) Zeus & HP Chelsea's Godson StoryCheck out our Patreon, Styx and Bones Temple's Store, Blogs and more! ⁠⁠https://beacons.ai/styxandbonessFOLLOW STYX AND BONES ON SOCIAL MEDIA⁠⁠https://www.instagram.com/styxandbonespodcast⁠⁠FOLLOW HIGH PRIESTESS CHELSEA⁠⁠https://www.instagram.com/highpriestesschelsea⁠⁠FOLLOW DR. K⁠⁠https://www.instagram.com/dirtdiaries_⁠⁠

Welcome back to the Dirt Diaries. Today, we're exploring a secret room in the heart of an ancient villa that was preserved during the eruption of Mt. Vesuvius, known today as the Villa of the Mysteries, which may contain scenes of cultic activity.Is this room connected to initiation into the cult of Dionysus? You be the judge, as we also examine a find that was discovered 100 years later. Perhaps the mystery will finally be solved.What do you think?-Stay curiousWant more Dirt Diaries?Join patreon with all your history-loving friends!patreon.com/TheDirtDiariesTravel with me, my socials, and more!https://beacons.ai/dirtdiaries.tenn

On episode 338, Sabrina weaves some ideas around transmuting basic fear, the Aries and Dionysus archetypes, embodied mysticism, through personal stories.Mentioned:free Pluto Course - https://www.sabrinamonarch.com/pluto-mini-courseOracle Body 1:1 Coaching - https://www.sabrinamonarch.com/oracle-body-coachingFelt Sense School of Evolutionary Astrology - waitlist: https://www.sabrinamonarch.com/the-felt-sense-school Hosted on Acast. See acast.com/privacy for more information.

In this conversation, we're joined by Professor Courtney Friesen, who is Professor of Classics and the Director of Graduate Studies in Classics at the University of Arizona and the author of Reading Dionysus: Euripides' Bacchae and the Cultural Contestations of Greeks, Jews, Romans, and Christians (published by Mohr Siebeck). In our conversation we talk about the Bacchae and its interpretation as well as other legends and myths about Dionysus. This leads us to several topics of relevance in the New Testament, especially the alleged drunkenness at Pentecost in Acts 2 and Jesus turning water to wine at Cana in John 2. Team members on the episode from The Two Cities include: Dr. John Anthony Dunne. Hosted on Acast. See acast.com/privacy for more information.

Mystical Anarchism, Rosicrucianism, Josephin Peladan, Symbolism/Symbolist movement, subliminal Symbolist techniques, theurgy, Maurice Maeterlinck, The Blue Bird/Project Bluebird, Symbolism is Russia, Georgy Chulkov, Viacheslav Ivanov, Dmitry Merezhkovsky, Zinaida Gippius, Boris Savinkov, Merezhkovsky's Trinitarianism, Joachim of Fiore, the Joachim revival in France, the Status of Spirit/Third Testament/Eternal Gospel, Huysmans & La-Bas, Nikolai Fedorov, Cosmism, transhumanism, noosphere and how it relates to Joachim, Pierre Teilhard de Chardin, Pierre Teilhard de Chardin, Iona Brikhnichev, Alexander Gorsky, the transformation of the God-seekers to God-builders, "The Tower," the Rites of Dionysus, Anna Mintslova, Andrei Bely. Rudolf Steiner, realia & realiora, a society based around the sobornost (cultic-theater), the cultic-theater as a replacement for government, acting as theurgy, acting as an act of possession, Japanese Noh theater and other traditions of possession in theater, audience participation, Mystical Anarchism's influence, role-laying games (RPGs), Dungeons and Dragons (D & D), the shift from passively observing narratives to co-creating them, MAGA as cultic-theaterMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/ Hosted on Acast. See acast.com/privacy for more information.

喜歡c+的大家好～本節目很開心迎來首位上節目宣傳戲劇的貴賓——第一屆台北戲劇獎「最佳戲劇類男演員獎」的入圍者——林子恆老師。 馬不停蹄的子恆，這次帶來了果陀劇場製作的《解憂雜貨店》，他在其中一人分飾兩角：阿貴與阿克。這部劇改編自東野圭吾的同名小說，以穿越信件的形式連結不同世代的煩惱、希望與療癒。 為了跟老師找話聊（？）我特地企劃了一個全新的橋段，取名〈星星知我心〉，希望能從演員的星座命盤出發，聊聊表演與人生哲學。天空的行星象徵著我們的生命故事，而舞臺上的星星們，也可以觸動觀眾的心。 評審團如此地説明了林子恆老師的表演： 「演出中內斂的語言與肢體，充分傳達出角色在不同年代跨度氛圍下的無奈與感傷。但在壓抑的表演節奏中，卻又不乏熱情、勇敢與堅毅的力量展現。情感豐沛，細膩精準，演員飽滿的能量在舞臺上建構出了觀眾對本劇的想像。」 這樣的描述，會如何透過命盤反映出來呢？ ▍牡羊＋天蠍——誠實與神秘並存的表演者 他的上升星座是牡羊座，這讓他在舞台上的外在氣質充滿力量與存在感，觀眾一眼就能感受到那股「他來了」的能量。但他的太陽星座在天蠍，這是掌管自我意識的主星——意味著他在內在有著神秘、謙遜與情感深層的特質。 而有趣的是，他的月亮也落在牡羊，這是掌管安全感與情緒的行星——這是一個像孩子一般誠實的配置，讓他在表演中能直接、坦率地傳遞情感，同時也充滿生命的原始動能。 牡羊的誠實與天蠍的神秘，看起來似乎矛盾，會為子恆的生命與表演，帶來怎樣的張力呢？ ▍金星在處女座第六宮 這顆掌管美感與表達愛的行星，讓他在日常的審美上特別講究精準與克制，偏好節奏緊湊、情緒準確、不過度渲染的演出風格。雖然他的身體本能強（牡羊的能量），但對於排練與演出細節卻非常在意「乾淨」、「準確」、「反覆雕刻」。 ▍身體的火焰與酒神的歸來 火星落在射手座，這顆掌管行動與慾望的行星，落在一個熱愛自由與信仰的星座中——他在身體的展現上，有一種無拘無束、追尋真理的本能。這呼應了子恆接受的表演訓練：來自希臘阿提斯劇院《The Return of Dionysus》的系統。酒神戴奧尼索斯，本身就是一位自由、不羈、在表演中帶著靈魂力量的流浪者。戴上面具，才是真正拿下面具。 ▍第五宮在巨蟹：表演是情感的庇護所 既然聊到表演，就必須提到掌管表演創造的第五宮，子恆的第五宮宮頭落在巨蟹座。這意味著，他的創作與表演，是從情感、親密與照護的方式出發的，能讓人感受到一種深刻的共鳴與情感滋養。 感覺有共鳴的話，歡迎關注本次的演出喔～

Join us today with our guest the mystic and bard Sophie Strand as we discuss the Knight of Wands. Like Dionysus, the Knight of Wands arrives from beyond with a message: look for the joy, look for what delights you, even if it's just a small thing, imagine it like a small spark of fire, then blow. We talk about the difference between the Knight and the King, and the ecological relationships they both imply. We talk about ecstasies and where inspiration comes from and what it means for your wand to flower and rituals for working with the Knight of Wands on your morning walks. Join us!To attend the SONNETS FOR THE MUSE workshop in Scotland on July 26th click here.To join Amanda's MYSTERY CULT on Substack click here.Listen to Carolyn's podcast with Beth Pickens Mind Your Practice, and join their Homework Club.**********************************FIND OUT MORE ABOUT OUR GUEST SOPHIE STRANDSophie Strand is a poet and writer with a focus on the history of religion and the intersection of spirituality, storytelling, and ecology. She is the author of four books: the poetry book "Love Song to a Blue God," "The Flowering Wand: a deep exploration of the regenerative and magical secrets of sacred masculinity hidden in familiar myths both ancient and modern", the novel "The Madonna Secret," and most recently the eco-disability memoir "The Body is a Doorway." You can find Sophie on her excellent Substack platform: Make Me Good SoilFind Sophie on Instagram: @cosmogonyOr buy her books here: sophiestrand.com/**********************************SONNETS FOR THE MUSE WORKSHOP with Amanda Yates Garcia and Rebecca SharpJoin Amanda and the poet Rebecca Sharp on Saturday, July 26th for a day-long workshop in Edinburgh, Scotland. This workshop is for you if you have a subject you're passionate about that you'd like to make space for in your life. Especially if you have an interest in learning more about poetry and its relationship to magic.FIND OUT MORE **********************************Learn More About Your Host Amanda Yates GarciaTo join Amanda's MYSTERY CULT on Substack click here.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramTo book an appointment with Amanda go to www.oracleoflosangeles.com*********************************Original MUSIC by Carolyn Pennypacker Riggs**********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer, composer). The BTW logo collage was created by Maria Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes. Learn More About Your Host Amanda Yates GarciaTo join Amanda's MYSTERY CULT on Substack click here.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramTo book an appointment with Amanda go to www.oracleoflosangeles.com*********************************Original MUSIC by Carolyn Pennypacker Riggs**********************************Are you an artist or writer looking for structure, support and community? Check out Carolyn's project - Homework Club -with with arts consultant and author, Beth Pickens:Homework Club offers creative people strategies for keeping their projects and practices a priority with monthly webinars, worksheets, live QnA's, accountability pods, and actual homework (that you'll never be graded on. Ever!). Make 2024 a BIG PROJECT year - first month free with code: YourArtMind Your Practice is our podcast.You can visit https://www.bethpickens.com/homework-club for more details or listen wherever you stream Between the Worlds.**********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer, composer). The BTW logo collage was created by Maria Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes.

This is a free demo--Full episode 90 minute episode can be found at: patreon.com/c/RememberShuffleIt's a music episode! The Shuffle Bois turn to an early 2000s artist that NME Magazine called "The Saviour of Music" and Pitchfork Magazine called "A horseman of the apocalypse," Andrew WK. The Shuffle bois first trace the surprisingly interesting life of Andrew WK before the 2001/2002 release of his first album "I Get Wet." They review this seminal album of the 2000s before discussing some themes and big ideas: irony and artifice for performers, the role of technology in music production in the early 2000s, and Andrew WK as modern-day Dionysus. En route, they discuss Andrew WK's afterlife as a meme, explore the conspiracy theories around his identity, and describe the sound of "Jackpot Rock" that he exemplified.

SPONSORS: 1) GhostBed: Use Code "JULIAN" to get 20% GhostBed Sitewide: https://ghostbed.com/julian PATREON: https://www.patreon.com/JulianDorey (***TIMESTAMPS in Description Below) ~ Neal Sendlak (aka "Gnostic Informant") is an Ancient History Researcher & Youtuber. He focuses on History, Mythology and Comparative Religion. GNOSTIC INFORMANT's LINKS: YT: https://www.youtube.com/@UCtdweFMJ5DGj7_q5IcpQhPQ FB: https://www.facebook.com/GnosticInformant X: https://x.com/Gnosisinformant FOLLOW JULIAN DOREY INSTAGRAM (Podcast): https://www.instagram.com/juliandoreypodcast/ INSTAGRAM (Personal): https://www.instagram.com/julianddorey/ X: https://twitter.com/julianddorey ****TIMESTAMPS**** 00:00 – Wes Huff Disagreement, Bible Misconceptions, Ending of Matthew Explained 09:42 – Fascination with Gnosticism in Prison, Bible & Ancient History Studies 15:15 – Hilari Festival, Gospel of John vs Dionysus, Wedding at Cana Parallels 24:34 – Dramatic Worldview Shift, Leaving Christianity, Pentecostal Church Experience 36:14 – Drawn to Gnosticism, Luke Verse on Leaving Family 46:47 – Roman Noblewoman Julia Avita Mamaea, The Great Persecution, Luke's Contradictions 59:11 – Christianity Arrives in Rome, Valentinianism, Holy Trinity Finalized, Marcian, 70 vs 12 Apostles 01:11:11 – 70 Disciples vs 12 Theory, Flavius Josephus, December 25th Debate 01:20:20 – Council of Nicaea Truth, Arius' Letter, Trinity Rejection 01:32:23 – Why Constantine Made Christianity Rome's Religion, Naasenes & Hymn to Attis 01:46:05 – Jewish vs Christian Sin Traditions, Leviticus 16, Alexander the Great vs Dionysus 01:58:39 – Crucifixion History, Roman Empire Divisions, Visiting Israel & Jesus Depictions 02:12:45 – Mystery of Jesus, Biblical Interpretation, Council of Nicaea Power, Drugged Eucharist Theory 02:21:45 – Burning Purple Theory, Ammon Hillman Rebuttal 02:25:49 – Gospel of Mary, Jesus' Relationship with Mary, “Disciple Whom Jesus Loved” 02:33:00 – How the Gospels Were Written, History of Banned Gospels 02:40:45 – Nephilim & Giants, Christianity's Global Impact (Good or Bad) 02:52:30 – Pope Gregory Letter, Understanding Other Faiths, Leaving Gnosticism 03:04:22 – Modern Greece & Ancient Studies, Losing Plato in the West CREDITS: - Host, Editor & Producer: Julian Dorey - COO, Producer & Editor: Alessi Allaman - https://www.youtube.com/@UCyLKzv5fKxGmVQg3cMJJzyQ - In-Studio Producer: Joey Deef - https://www.instagram.com/joeydeef/ Julian Dorey Podcast Episode 318 - Gnostic Informant Music by Artlist.io Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Tower of Nero, ch. 6 to 10 This week on Unwise Girls, we continue to tube down the river of good fortune as The Trials of Apollo continues to find its footing right at the end. We discuss Dionysus's antics (as well as the surprising pathos mined from his familiar relationship with Apollo), Smite That City, the return of the Gray Sisters, meme manufacturing, Just Two Guys, eyeball play, effective fake-outs, and perhaps the most electrifying crossover in Rick Riordan history. Come back next week for The Tower of Nero, ch. 11 to 15! Check out our Patreon! (https://www.patreon.com/unwisegirls) Follow the show (https://twitter.com/unwisegirls) Join our Discord! (https://discord.gg/XnhhwzKQ8d) Hosted by Jacqueline (https://twitter.com/swampduchess) and Jane (https://twitter.com/janeyshivers). Edited by Jacqueline. Cover art by Vera (https://twitter.com/Innsmouth_Inn). Intro/outro: "Super Mariocean" by spacepony (https://ocremix.org/remix/OCR01147) This podcast is powered by Pinecast.

Today on Ascend: The Great Books Podcast, we are joined by Tsh Oxenreider to discuss The Frogs by Aristophanes. The play tells the comedic story of Dionysus deciding all the new tragic poets are terrible, so he travels to Hades to bring back Euripides to help save Athen's from her moral decay. Once in Hades, Dionysus has several adventures, which includes hosting a poetry contest between Aeschylus and Euripides to see who is the best tragedian.Visit thegreatbookspodcast.com for our reading schedule!Visit our Patreon page for our library of written guides to the great books!For those who do not know Tsh Oxenreider, she is wonderful. She's an author, blogger, and podcaster. I was on her podcast a while back to discuss acedia and love of eros. Great conversation. And today, we have a high-level, friendly chat about this The Frongs and our love of the great books in general.So join us today for a enjoyable conversation on Aristophanes' the Frogs.ALSO: We start PLATO on 7.22.25! Check out our website for our reading schedule. Join us!00:00 Introduction01:09 Tish Oxenreider's Background and Love for the Great Books07:07 Introduction to Aristophanes and 'The Frogs'09:17 Appreciating Aristophanes' Comedy18:14 The Role of Comedy in Teaching Lessons21:59 The Humor and Juxtaposition in 'The Frogs'27:18 Comparing Aristophanes and Euripides30:26 The Title 'The Frogs' and its Significance32:51 The Impact of Translation on the Reading Experience34:29 The Power of Lightness34:55 The Relief of Small Pleasures35:54 Remembering the Power of Truth and Beauty37:43 The Transformative Power of Great Works39:00 Dionysus as the Go-Between40:18 Poets as Teachers

Al and Kev talk about whether or not farming game remakes are worth it. Timings 00:00:00: Theme Tune 00:00:30: Intro 00:02:08: What Have We Been Up To 00:38:42: Game Updates 00:58:01: New Games 01:11:11: Farming Game Remakes 01:51:29: Outro Links Research Story 1.0 Tiny Garden Switch Info Go-go Town “Tourist Trap” Update APICO Physical Edition Farming Simulator 16-bit Limited Edition Romestead Contact Al on Mastodon: https://mastodon.scot/@TheScotBot Email Us: https://harvestseason.club/contact/ Transcript (0:00:30) Al: Hello, farmers, and welcome to another episode of the harvest season. My name is Al. (0:00:34) Kev: My name is Kevin (0:00:36) Al: And we’re here today to talk about Cottagecore games. (0:00:39) Kev: You woo supposedly the word on the street is it says on the box (0:00:46) Al: Does it? (0:00:47) Kev: That’s odd, yeah, it does it what does the websites I’m assuming it does (0:00:51) Al: I don’t know. This is a good question. What does it say on the website? (0:00:54) Kev: You know, we’ve never done (0:00:55) Al: It says farming. It says a podcast about farming simulators. (0:00:58) Kev: Well, there you go, I guess we were lying somewhere, you know one of these days (0:01:00) Al: Yeah, classic. (0:01:04) Kev: Not days we should do in April fools and switch it up (0:01:07) Kev: Or we talk about I don’t know something else. I guess we kind of do that sometimes but you know something really different (0:01:12) Al: Something, something else. (0:01:14) Kev: Yeah (0:01:16) Kev: We talk about gotcha games, I mean I already do but you know all in oh (0:01:23) Kev: Yeah (0:01:24) Al: Hello. We are going to talk this episode about, I want to have a discussion about remakes. (0:01:25) Kev: Hello listener (0:01:34) Kev: We don’t oh (0:01:34) Al: Specifically remakes of farming games. (0:01:38) Kev: Oh, that’s well hmm. I mean it’s still in the neighborhood like there’s stuff to be discussed for sure (0:01:47) Al: Well, that’s why we’re doing it. (0:01:51) Al: I don’t tend to have topics that I don’t think I’ll have much discussion. (0:01:55) Kev: That is died and I believe that’s factually not true (0:02:00) Al: Wow, how dare, how dare you, how very dare you. (0:02:04) Kev: Oh (0:02:06) Al: Before that, we have a bunch of news, but first of all, Kevin, what have you been up to? (0:02:13) Kev: Okay, let’s see here when I wrote things down (0:02:16) Kev: Okay, Marvel snap. Okay, I should have talked about this earlier because it ended this week, but I mean all snap goes (0:02:22) Kev: It’s good the the new Fantastic Four (0:02:27) Kev: Season with cards based off the movies coming up (0:02:30) Kev: They’re just doing a whole new season like first step family (0:02:34) Kev: First steps whatever but but that’s coming so you know and that looks good (0:02:38) Kev: But I didn’t talk about maximum voltage overdrive or whatever that thing was called (0:02:45) Kev: You played snap outs been a minute. Did you play maximum voltage? (0:02:49) Kev: Do you remember that mode at all? (0:02:50) Al: I think it was around when I was playing, but I don’t think I played it. (0:02:54) Kev: Uh-huh (0:02:56) Al: I did the Deadpool Diner and I did. (0:02:59) Kev: Yeah (0:03:00) Al: There was one other one that I did, but I don’t think I did maximum. (0:03:02) Kev: Okay, so (0:03:04) Kev: So yeah, every once in a while snap introduces these like alternate modes with different rules or different words or whatever (0:03:12) Kev: And so one that they’ve done is called maximum voltage (0:03:16) Kev: and previously maximum voltage was a three-turn game instead of six turns and (0:03:20) Kev: They would give you a random amount like two to four energy every turn like extra so it was you know (0:03:27) Kev: Not just the one two three four (0:03:29) Kev: So you had you could play cards quickly and you had to do on three turns (0:03:34) Kev: It’s a it’s a different pace a game. It’s fun even shorter. I liked it (0:03:41) Kev: Well this past week or two they did maximum voltage overdrive or overcharge whatever’s over something (0:03:50) Kev: Where it was a four-turn game (0:03:53) Kev: The same rules of okay, you get random two to four energy every turn (0:03:59) Kev: on top of what you already have (0:04:02) Kev: But they (0:04:04) Kev: Also filled your deck out with like was it eight or twelve extra random cards in your deck (0:04:10) Kev: Those extra cards had lower costs and higher power (0:04:15) Kev: So it was it was a wild ride because it was a lot of like kind of RNG really right what you get (0:04:22) Kev: It’s hard to build around like, you know real strategy around it (0:04:26) Kev: and you know, I (0:04:28) Kev: I enjoyed it enough. It was fine enough. You know a lot of people don’t like RNG sort of (0:04:34) Kev: modes or strategy so you know I don’t think as popular as other ones but at (0:04:40) Kev: least they tried something right like I always did they say hey try it and then (0:04:43) Kev: we’ll see how it goes but the bigger fiasco was the rewards because when they (0:04:52) Kev: have these side missions they’ll give you usually like a sort of bonus currency (0:04:56) Kev: or side currency or whatever specific for that mode with a shop or reward tier (0:05:01) Kev: or something like that. (0:05:04) Kev: In this case they gave you a shop, you could earn let’s just call them vault points or whatever they were called. (0:05:08) Kev: And so there was a new card in the shop. (0:05:12) Kev: Kid Omega, I don’t know who that character is but they had a decent enough ability. (0:05:16) Kev: But regardless, so yeah, it was a new card and very cool and all. (0:05:24) Kev: But here’s the thing, for the first time ever in one of these side modes, you could not earn the card for free. (0:05:32) Kev: Um… (0:05:34) Kev: Well, I guess you technically could, but… (0:05:36) Kev: So how it works is every eight hours you get a set of three missions, and you get X number of points for it, right? (0:05:44) Kev: Well, people did the math. (0:05:46) Kev: If you did all the missions, every single set of three for every eight hours for the entire duration of the thing, (0:05:52) Kev: you would still have to win 500 games, I think it was, to earn enough points to earn the new card. (0:05:57) Al: That is so many games. (0:06:04) Kev: But… (0:06:04) Al: I don’t think I’ve ever won 500 games combined in the, like, what, combined what, six months (0:06:06) Kev: Yeah, totally. (0:06:14) Kev: I mean, I might be there with you. (0:06:18) Kev: But yeah, so that was wild. (0:06:24) Kev: And a lot of people were up in arms about it, as you can imagine, and I think understandably so. (0:06:30) Kev: Also, because Marvel Snap, traditionally, has been… (0:06:34) Kev: Play-ish where or at least you if you played enough you could get a decent pool of cards or you could get work (0:06:40) Kev: You know the new cards they were releasing if you kept up you could (0:06:45) Kev: You could you could play for free (0:06:48) Kev: the boat the money was either spent on generally speaking on (0:06:55) Kev: Cosmetics, you know variants and bundles (0:06:57) Kev: I guess the season passed you could unlock a new card and that’s ten bucks a month and like that (0:07:02) Kev: But they would drop for free later (0:07:04) Kev: So you didn’t have to do it. But anyways (0:07:08) Kev: Point is that a lot of players feel like the the snap devs are kind of leaning a little more into (0:07:15) Kev: You know pay to win or pay to get the new cards (0:07:19) Kev: So that was a big (0:07:20) Kev: Yeah, big big bit a little bit of fiasco (0:07:25) Kev: and (0:07:26) Kev: Yeah, it’s over now. We went to another mode called sanctum showdown, which is but it’s much slower paced modes fun (0:07:35) Kev: They’re playing it safe. No crazy (0:07:38) Kev: Expensive card or whatever but (0:07:40) Kev: It’s interesting to see (0:07:43) Kev: kind of a shame that they you know, they’re a little money hungry, but (0:07:48) Kev: Cuz though otherwise the game I think is in still in a decent shape (0:07:52) Kev: They’ve released so many cards like I think it’s almost in a state of we can play whatever you want more or less (0:07:59) Kev: But yeah, I mean I’m still playing it. I’m still enjoying it. I did not get the kiddo-megan card (0:08:05) Kev: You know, it’s wild. I saw somebody with that card on day one (0:08:08) Kev: Which means they must have put a lot of money or gold or whatever. Yeah, there’s always an I found the whale. Oh (0:08:08) Al: Hmm there’s always one. There’s always one. Yeah (0:08:16) Kev: Speaking of not having money or wanting money (0:08:20) Kev: Yes, let’s talk about unicorn overlord. So I reached the end of what’s called best stories. That’s the beast land (0:08:30) Kev: Campaign area there’s basically like five countries in the game or whatever and each one is kind of (0:08:34) Kev: Its own little chapter if you will write its own little story and arc and so I reached the end of the best stories chapter (0:08:41) Kev: Which is fine and all the villain was a rat man a rat where rat I guess. I don’t I don’t know how to describe it (0:08:50) Kev: You know, I’ll show you a picture (0:08:52) Kev: but (0:08:53) Kev: And so I enjoyed it. It was a fun chapter. I think the Beast people were cool, but what is funny and (0:09:00) Kev: I can feel it. I learned about this (0:09:04) Kev: When I went online because it felt something felt like it was changing the writing in unicorn overlord who was pretty alright (0:09:12) Kev: Up until around now because they really just kind of did not give the the rat man’s name (0:09:19) Kev: His name was Elgore and he kind of had an interesting story (0:09:23) Kev: The rats were generally oppressed people and he wanted to rise up and then you know, he became a general (0:09:29) Kev: So it’s kind of an interesting story and there was some evil the evil bad guy team (0:09:34) Kev: We’re doing experiments on him yada yada (0:09:38) Kev: But it was really really rushed. And so I kind of looked into it and it turns out (0:09:45) Kev: That oh (0:09:47) Kev: Hold on one second now (0:09:49) Kev: my mic (0:09:51) Kev: Sorry, there we go. Sorry. My mic had a hiccup and I think we’re good now while checking (0:09:57) Kev: double-checking (0:09:58) Al: Sounds fine to me. (0:09:59) Kev: Yes, okay. I lost a few seconds of the recording, but okay. I’m okay (0:10:03) Kev: I don’t know, at least the– (0:10:03) Al: It’s fine now. (0:10:05) Al: Zoom is pretty good at like starting out. (0:10:05) Kev: Yeah, all right (0:10:09) Kev: Well, anyways, so I looked up that why it started feel rushed and turns out that the unicorn (0:10:15) Kev: Overlord development ran out of money and basically the director producer they started funding it out of their own pocket (0:10:22) Kev: so apparently this last (0:10:25) Kev: quarter or so of the the game is gonna feel very rushed and (0:10:30) Kev: There’s no time for story anymore. Which is sad but (0:10:34) Kev: That said the game is still (0:10:38) Kev: Entertaining. I like it. It’s fun. Yeah, like unicorn overlord to two thumbs up from me (0:10:45) Kev: Let’s see (0:10:47) Kev: So yeah, so that’s good. Um, oh, okay follow up from last week (0:10:50) Kev: So we spent a little time having a fun little chat about magic the gathering and capitalism and the $1,000 (0:10:58) Al: Like 20 minutes. (0:10:59) Kev: pack of set of four packs (0:11:02) Kev: and it was all started as you may recall because (0:11:04) Kev: I was looking at the, or you know, the Final Fantasy set of Magic the Gathering cards came out, (0:11:12) Kev: and I did not want to buy them because I didn’t want to spend them, or spend the money for them. (0:11:17) Kev: Well, this week I bought the Final Fantasy card set from Magic the Gathering, virtually, virtually, there’s my caveat, haha. (0:11:26) Kev: Uh, no, I did not spend money, but… yeah, haha, virtual versions of my cardboard. (0:11:27) Al: Oh, wait, that’s that’s even that’s even all right. (0:11:30) Al: I was going to say that’s even worse if you bought digital cards. (0:11:35) Kev: No, no money spent. So I’ve been, I’ve played Magic the Gathering Arena, though that’s the online client. I fired it up to get in there and try. (0:11:43) Al: Good game. I’ve not played in a long time, but when I was playing, I was doing a lot of arenas. (0:11:49) Kev: Alright, it’s good. It feels comparable, I think, to, you know, Pokemon TCG live. (0:11:54) Al: Oh, I think it’s way better. (0:11:56) Al: I think it’s way, way better. (0:11:57) Al: I think the I mean, it’s been a while since I played it. (0:12:00) Al: But in my experience, the app was much less slow in menus and the effects were much better. (0:12:05) Kev: Yeah. (0:12:08) Kev: I agree with that. It is much, much more polished, right, overall. A little fancier. And you’re right, a little less laggy. (0:12:17) Kev: But, yeah, but I mean, the point is, it serves as a decent online, you know, substitute for the paper game. (0:12:26) Kev: So I got some, yeah, Final Fantasy cards there and played a little, doing a choco bow deck. (0:12:33) Kev: I’m really upset (0:12:35) Kev: Those cards are really good, art-wise and gameplay-wise (0:12:42) Kev: They have, because I mentioned I was playing Final Fantasy, the proper FFTCG (0:12:49) Kev: That game doesn’t have equipment cards (0:12:51) Kev: Magic the Gathering does, so Magic the Gathering can include iconic items and weapons (0:12:57) Kev: Like the Buster Sword, or a cup of instant noodles from Final Fantasy XV (0:13:04) Kev: So I’m more…a little… (0:13:05) Kev: I’m jealous that Magic did it so well. (0:13:07) Kev: Whoever…the people working on the Final Fantasy set, they really love Final Fantasy. (0:13:13) Kev: They have Souplex the Train as a card. (0:13:17) Kev: People who know FF5 understand that reference. (0:13:25) Kev: But yeah, I mean, I try to… (0:13:27) Kev: I’m still thinking about it. I’m looking at it. (0:13:31) Kev: The card’s proper. I’m not gonna buy it yet. (0:13:35) Kev: Oh, it’s been…I’ve been craving it. It’s a siren song. (0:13:38) Kev: So I had to…you know…I had to at least do it virtually to enjoy it a little. (0:13:46) Kev: But I digress. That’s what I’ve been up to this week. (0:13:50) Kev: What about you, Al? What’s going on? (0:13:52) Al: Well, let’s see, what have I been up to? (0:13:56) Al: Shock surprise. (0:13:58) Al: I have been playing some Mario Kart World up. (0:14:00) Kev: Yeah, you’re going for it, man. Getting all those knockouts here. I’ve seen your progress. (0:14:04) Al: Yes, so update on that. (0:14:07) Al: I have done all of the Grand Prix’s 150, three stars and all of the knockout (0:14:13) Al: all of the knockout tours, 150, three stars. (0:14:19) Al: and I have done enough in free. (0:14:22) Al: Rome to unlock mirror mode. (0:14:25) Kev: Okay. (0:14:27) Al: And I have unlocked all of the costumes. (0:14:30) Kev: Oh, you’re- you’ve done it all almost pretty much at this point. (0:14:33) Al: I am still missing three characters. (0:14:36) Kev: Wait, wha- oh. How d- uh- uh-huh. (0:14:38) Al: But that’s because they are the Kamek characters, (0:14:43) Al: so you have to be on a specific course (0:14:47) Al: and someone use the Kamek behind you on that specific course. (0:14:50) Kev: Uh, okay, I did notice that I got some kamiks and I think I got kamiks characters out of that. (0:14:53) Al: There’s a chance that you get one that character, so. (0:15:00) Al: Yeah, yeah, yeah. (0:15:01) Al: So I’ve got most of them, but I’m still missing three of them. (0:15:04) Al: And it’s like they are dreadful to try and force like the bet. (0:15:08) Kev: Yeah, who are they? (0:15:10) Al: How who am I missing? (0:15:12) Al: Let me check my spreadsheet. (0:15:14) Al: I am missing Rocky, wrench. (0:15:18) Al: Peepa and Swoop. (0:15:20) Kev: Oof, oof, oh man, I like swoop. (0:15:21) Al: I have the rest of them. (0:15:22) Al: So that’s I have that’s 15 out of 18 characters unlocked (0:15:26) Al: and 103 out of 103 costumes unlocked. (0:15:31) Al: So, yeah, and I’ve got all the vehicles as well. (0:15:36) Al: All 40 of them. (0:15:37) Al: So I am going to I’m definitely going to do. (0:15:40) Al: I’m definitely going to start doing mirror modes. (0:15:42) Al: I really want to restart all the mirror modes (0:15:45) Al: before I get too much muscle memory for specific courses. (0:15:46) Kev: Yeah. (0:15:49) Kev: Mmm. (0:15:50) Al: Right, because that that’s when it becomes really hard. (0:15:52) Kev: Yeah, you’re right. (0:15:53) Kev: That’s an excellent point. (0:15:53) Al: But I’d love I’d love to three star mirror mode (0:15:56) Al: because I’ve never restarted every mirror mode in a Mario cart. (0:16:00) Kev: I mean you’re like there, you’re wide as well, right? You’ve gone the 90%? (0:16:06) Al: Yeah, it’s I guess the thing is it’s just about like time now, right? (0:16:10) Kev: Uh-huh. (0:16:10) Al: Like we’ve got two and a bit weeks until Donkey Kong comes out. (0:16:15) Al: That’s basically my deadline, right? (0:16:15) Kev: I was about to say, that’s the deadline, right? (0:16:17) Al: Like if it’s if I’ve not done it by (0:16:20) Al: Donkey Kong coming out, it’s probably never happening. (0:16:23) Kev: Yeah, well, maybe they’ll release some DLC, but I understand what you generally say. (0:16:28) Al: Yeah, but at that point, I don’t I think at that point I’ll play the DLC, (0:16:31) Al: but I don’t think I’ll go back and try and do the other mirror modes. (0:16:31) Kev: Yeah, it’ll be out of your system, I get it. (0:16:34) Al: Right. (0:16:36) Al: So we’ll see. We’ll see how I feel. (0:16:38) Al: But I’m going to I’m going to at least try and see how far I get. (0:16:42) Al: But obviously it’s quite few and, you know, I can see I should be able to do them. (0:16:47) Al: Right. Because I’ve done one hundred and fifty. (0:16:49) Al: I should be able to do mirror mode. (0:16:50) Al: I don’t think I’m in use to them enough that I will cause problems. (0:16:53) Al: Although maybe there’s a couple of courses that are recreations of previous ones, (0:16:58) Al: like the Mario Bros circuit, which is just like the continuation from the one (0:17:00) Kev: Yeah (0:17:03) Al: and since the sna is- (0:17:06) Al: right? That one might be trouble because I suspect I’ll have muscle memory for that course (0:17:06) Kev: Yeah (0:17:12) Kev: Sure sure (0:17:12) Al: but we’ll see, we’ll see. I’m gonna try and we’ll see how I go (0:17:17) Al: and I think that’s all I was considering. So have you done much free roam? (0:17:22) Kev: Not too much myself now (0:17:25) Al: So you’ve got the P switches, you’ve got peach medallions and you’ve got the question mark blocks. (0:17:27) Kev: Yeah (0:17:29) Kev: Yeah (0:17:32) Al: the only one that’s actually like shown on the map. (0:17:36) Al: The P switches where each course has a certain number of P switches and it shows you how (0:17:38) Kev: Mm-hmm (0:17:40) Al: many you’ve got. So I’m considering doing the P switches, but there’s no way I’m going (0:17:47) Al: to look for all of the peach medallions and all not not P switches sorry the question mark blocks. (0:17:52) Al: It’s not the P switches the question mark blocks. There’s no way I’m going for the piece all the (0:17:56) Al: P switches and all the peach medallions. I’ll probably do some more just playing around in (0:18:00) Al: free roam and if I see some I will do some, but I’m not going to go out my way to get (0:18:04) Al: every day because it’s like (0:18:06) Al: 300 P switches or something it’s mad how many there are I’m not going to do (0:18:08) Kev: Yeah, you don’t want to collect all the Koroks? (0:18:12) Al: all of them definitely not but I can see myself doing all the question mark (0:18:17) Al: blocks just because they’re like clearly like there’s six on this course six on (0:18:22) Al: this course six on this course I could see myself doing that but I’m not I’m (0:18:28) Al: not going all in on that at this point right like we will see (0:18:31) Kev: man. I gotta say the free roam is a little disappointing from what I’ve experienced and (0:18:39) Kev: seen. I was really hoping for, for lack of a better word, secrets, right? Little nooks (0:18:47) Kev: and crannies you could explore that, you know, you wouldn’t experience on a race or whatever, (0:18:52) Al: - Yeah, yeah, yeah. (0:18:53) Kev: right? Like in, you know, shooting for the stars, like even a handful of courses not in any of the (0:19:01) Kev: pre-write, you know, unofficially labeled, like you enter a cave and all of a sudden (0:19:06) Kev: there’s this little racetrack down there. Stuff like that, but anyways, yeah, there’s not much (0:19:12) Kev: going on other than unlocking mirror mode, I guess, on free roam. Although I do like the (0:19:20) Kev: Princess Peach Castle, the window easter egg, that’s fun. (0:19:23) Al: Yeah, yeah, it’s I will agree that I think free roam is a little bit of a disappointment, but yeah, I am still very much having fun. (0:19:35) Al: And I will definitely be playing this with people in person a lot. (0:19:40) Kev: I’m sure. I mean, it’s Mario Kart. It’s built for that. (0:19:41) Al: No, it’s 100% worth. (0:19:44) Al: Yeah, it’s 100% worth it, especially as, you know, it was what, like 30 quid in the bundle, right? (0:19:49) Kev: Yep. (0:19:50) Kev: Exactly. (0:19:50) Al: Like it was very much worth that. (0:19:53) Al: And just, it is, I still stand by it’s the most fun to control the, with the new physics reactions. Like I feel like all the other ones will feel quite stiff going back to them. (0:20:04) Kev: Yeah, yeah, yeah, I don’t think (0:20:10) Kev: Yeah, I yeah, I don’t think a lot of people are gonna push back on that it does feel very good to control (0:20:16) Kev: I agree (0:20:19) Kev: Yeah, it’s it’s I mean it’s Mario Kart right like it’s still gonna be good (0:20:22) Kev: It’s a but it is funny though that you know insert the the Simpsons sheep gif when Donkey Kong bonanza comes out (0:20:28) Al: Yeah, yeah, yeah, yeah. Definitely. That is going to be like a couple of weeks of just (0:20:34) Kev: Yeah (0:20:37) Al: like that’s the only thing I’m playing. Yeah. And we, has the direct been since we recorded (0:20:39) Kev: It looks so good, I only more (0:20:44) Al: our last episode? I can’t remember. Super fun. I’m so excited for this. I think it’s (0:20:44) Kev: I I can’t remember. We haven’t talked about it either way, but that’s uh (0:20:51) Kev: that’s a (0:20:52) Kev: good looking direct (0:20:53) Al: really, yeah, I think they, that was a great direct because it shows (0:20:58) Al: it kind of confirmed a bunch of the stuff we already knew while also giving us enough (0:21:03) Al: to be like, oh, there’s more. Right. And, and I think it’s really, I think it’s really (0:21:09) Al: good looking. Like I love the different effects that you get in transforming into other animals (0:21:16) Al: and also having Pauline basically be like a parrot on your shoulder. Right. It’s really (0:21:22) Kev: yep it’s it’s so good I i love the online reaction that we the internet gave of like you (0:21:23) Al: fun. (0:21:30) Kev: know the trifecta of uh was it ralph and vanellope uh sully and boo and now we’ve got dk and pauline (0:21:38) Kev: you know big guy and then little girl um it’s it’s fun (0:21:38) Al: Look, it works, right? Like why, why break it? Why try and fix it if it’s not broken, (0:21:47) Kev: Exactly. It’s great. Um, yeah, I’m I’m very pumped. Uh, (0:21:52) Kev: for uh uh the the game or general, I guess. Um, it’s I’m a (0:21:59) Kev: little disappointed that we don’t get the animal buddies (0:22:02) Kev: per se. I mean, I know Rambi’s in there and and it’s kind of (0:22:06) Kev: in there, but you know, it’s it’s the functions been replaced (0:22:09) Kev: by your transformations and the transformations are cool. I (0:22:12) Kev: won’t lie. Um but uh I don’t know. I’m a guy who likes Rambi. (0:22:17) Al: Well, look, I don’t have any real history with the previous DK games other than trying them and not enjoying them. (0:22:23) Al: So I don’t particularly mind. (0:22:27) Al: I’m not a lower muncher. (0:22:30) Kev: Sure, I mean, it’s not even like lore stuff because that’s uh, that’s just uh, you know, I guess mechanics or (0:22:38) Kev: Gameplay traditions, whatever. But if you want to talk about lore, I mean we can get trying to you know (0:22:43) Kev: We can try figure out why on earth (0:22:48) Kev: Does how is Pauline hanging out a DK? How does that timeline work? (0:22:52) Al: Well, I think everything lines up if you just ignore the original DK game. I don’t think (0:22:59) Al: anything else is a problem. I think it’s only that. And I think that this ties in so much (0:23:00) Kev: Yeah. Which… (0:23:05) Al: better to Odyssey, because why would Pauline be the mayor of a city that’s named after (0:23:11) Al: her kidnapper? But she would be the mayor of a city that’s named after her hero. (0:23:12) Kev: Yeah, I like the way you think there that’s a good point, yeah, but and also like this (0:23:28) Kev: is even more so than Odyssey cuz I mean Paulina was in there was you know, she’s first time (0:23:32) Kev: back in forever or whatever but she’s you know, she has a starring role finally, that’s (0:23:40) Al: Yeah, my I also I have another theory that it might be time (0:23:47) Kev: All right, oh well there you are now we’re talking let’s get into that Zelda split timeline (0:23:55) Al: Well, I don’t even think it needs to be a split timeline, right? (0:23:58) Al: Like, if something happens and she gets shot forward and then she goes back in time after this, (0:24:04) Kev: Oh, I like it. I like. (0:24:05) Al: you know, she could still go through the whole thing, because the thing is, right, (0:24:09) Al: Pauline in Donkey Kong, that’s not this Donkey Kong, that’s Cranky Kong. (0:24:14) Kev: that is cranky kong who does exist yeah oh I like that that’s clever yeah there you go all right I like it (0:24:15) Al: So, you know, she’s obviously from the past. (0:24:22) Al: Or, or, here’s another suggestion. (0:24:25) Al: If Donkey Kong, if Donkey Kong and Cranky Kong are both Donkey Kong, then maybe Pauline. (0:24:32) Al: This could be a different Pauline. Maybe this is Pauline’s daughter. (0:24:35) Kev: You know, I mean, that’s well established, right? Bowser Jr. looks just like Bowser when he’s a baby, I guess, so you know. (0:24:45) Al: Pauline Jr. (0:24:46) Kev: Pauline Jr. could be! (0:24:49) Kev: Although, okay, you know what? You know what? I’ll even point the bat at the stands here. (0:24:54) Kev: I bet we get little Pauline here as a character in Mario Kart World War 2. (0:24:58) Al: I hope so. I do hope there is some stuff coming, so I saw someone note that some of the characters (0:25:06) Al: have lots of costumes, and some of them have almost none. In fact, some of them have none. (0:25:11) Al: And the interesting thing is, one of the characters that has almost none is Donkey Kong. He only (0:25:12) Kev: Yeah. (0:25:16) Al: has one costume. Just before a Donkey Kong game comes out, suspicious. So are we interested (0:25:17) Kev: It is very strange considering, you know, he’s… (0:25:21) Kev: Uh-oh, uh-oh! (0:25:28) Al: in a Mario Kart World update coming with some Donkey Kong costumes to encourage you (0:25:34) Kev: I mean (0:25:36) Al: to be interested in the new game? Maybe. Yeah. And we obviously have all the baby characters, (0:25:37) Kev: If if it feels like the most obvious dough in the world, right, um, so yeah (0:25:46) Al: so would we get a young Pauline, as well as the babies that we’ve got of the other characters? (0:25:48) Kev: I like it (0:25:51) Kev: How cute (0:25:51) Al: We don’t have Pauline at all. Oh no, we do have Pauline. But also Pauline only has one (0:25:53) Kev: We do it, Paul (0:25:58) Kev: Like a generic racer costume, so there you go (0:25:58) Al: costume. So, you know, the two of them, both in an upcoming game. You know, I will be very (0:26:05) Kev: Yeah, yeah, yeah (0:26:09) Al: disappointed if there’s not. But this makes you wonder what else could be related to things, (0:26:11) Kev: I you know that’s I don’t think you’re being unreasonable (0:26:16) Al: right? Birdo only has two costumes, so that’s an interesting one. Could there be a Birdo (0:26:22) Al: thing coming up? Who knows? Lakitu only has two costumes, and there is an update to… (0:26:28) Al: Why can’t I remember the name? Goodness me. Mario Party. Which Lakitu obviously has a (0:26:34) Kev: Which Mario what okay? (0:26:40) Al: big part in Mario Party. Maybe I’m stretching at this point. Who knows? But we’ll see. I’m (0:26:41) Kev: Yeah (0:26:48) Kev: We we will see I think that’s the end that’s all we can kind of say really um (0:26:54) Al: I’m sure we can say much more, but let’s not. (0:26:56) Kev: Well, well, okay, yeah, you know, I will say this like each his legs still make me very uncomfortable. I (0:26:59) Al: Fair, very fair. (0:27:03) Kev: Don’t like it (0:27:05) Kev: Get in the car. Don’t look at those freak. Yeah, no, no, I don’t like it. That’s (0:27:08) Al: Don’t put him on a bike. (0:27:15) Al: He should be in the cloud cart. (0:27:19) Al: That’s the only one he’s allowed to be in. (0:27:20) Kev: Yeah, you really or you know, I don’t care I (0:27:23) Al: No, I’m just saying. (0:27:26) Kev: Look, I don’t care if it’s like (0:27:29) Kev: Horrendous I don’t care if it’s horrendous like animation clipping just (0:27:35) Kev: Just stick the the dang (0:27:36) Al: The cloud around every cart you put them in. (0:27:40) Kev: Yeah, yeah, when he’s the bike it’s just clipping right to the cloud (0:27:45) Kev: Okay, you make it it’s worth it (0:27:50) Al: All right, so that’s my car. (0:27:52) Al: I’ve also I don’t want to talk too much about this, but I do want to mention it. (0:27:58) Al: I’ve opened Lens Island again and started playing that. (0:28:02) Al: So for context, I originally backed on. (0:28:06) Al: Kickstarter and I started playing it when it first came out, but it had no controller (0:28:11) Al: support and basically was horrible to use on the steam deck. (0:28:16) Al: So I have started playing it again, and it is less horrible to play on the steam deck. (0:28:24) Kev: But that’s always the bar we want less horrible (0:28:25) Al: And I think that’s as far as I’m going to go on this comp on it just now. (0:28:33) Al: I will probably go into it a lot more in the next. (0:28:36) Al: episode, probably, but no promises. (0:28:38) Kev: Okay, fine. Okay. (0:28:43) Al: So that is a thing that is currently happening that I am not going to give any opinions on right now. (0:28:52) Al: But finally, we are recording this on Saturday, the 28th of June. (0:28:57) Al: I have just finished the first day of Pokémon Go Fest 2025 Global. (0:29:01) Kev: Oh, is that what’s going on? Okay. (0:29:03) Al: That’s what’s today. (0:29:04) Al: Yeah. So, uh, I had. (0:29:06) Al: Fun. I got a few hours where I was allowed to remove my (0:29:14) Al: responsibilities from children and just go play Pokemon in Edinburgh. (0:29:17) Al: And yeah, I got a good amount of stuff done and I enjoyed that. (0:29:20) Kev: Cool. What is going on? What are they releasing? (0:29:24) Al: This is the Crowned in Shield form Zacian and Zamazenta. (0:29:30) Kev: Wait they weren’t in there already that’s weird, but okay (0:29:32) Al: No, they had the base forms, but not this Crowned in Shield form. (0:29:37) Al: Uh, because they’ve got to release them separately to make the most money, right? (0:29:42) Kev: - Oh, yeah, yeah. (0:29:46) Al: But yeah, so, uh, yeah, I think they did this one a lot better than the previous (0:29:52) Al: other forms, because with Curum and with, uh, oh, what’s the other one? (0:29:59) Kev: Uh, uh, uh, Nick Asma. (0:30:03) Al: Nick Rosma, thank you. (0:30:05) Al: with both of them. (0:30:06) Al: You have a certain amount of energy you need to get to fuse them, but if you separate (0:30:15) Al: them, you have to use the same amount of energy again to fuse them again. (0:30:21) Al: It’s like a thousand-fuse energy, or whatever they call it. (0:30:25) Al: I can’t remember and I don’t care. (0:30:26) Kev: Yeah, that’s correct (0:30:29) Al: Once you fuse them, you use up that thousand, but you get like a hundred per raid that you (0:30:33) Al: do. (0:30:34) Al: raids to get enough defuse once (0:30:35) Kev: Okay (0:30:36) Al: set of them. And then if you’re like, “Oh, I fused the wrong one”, and you unfuse it, (0:30:37) Kev: Yeah, oh (0:30:42) Al: you then have to do another 10 raids to do it. But of course, those raids were only available (0:30:45) Kev: It sounds like a lot (0:30:48) Al: for one weekend. They’ve never been available again, so you can’t get the energy anymore. (0:30:55) Al: It’s dreadful! (0:30:56) Kev: That sounds like a lot. (0:30:58) Al: Well, the good thing is that Zamasenta and Zacian, once you turn it into crown form, (0:31:04) Al: If you revere its form, you can… (0:31:06) Al: you can then do it again without using any energy. (0:31:09) Kev: Sure, okay. Okay, I mean, that’s that’s definitely nice. I just, man, I just got to say I didn’t go that long at all. But hearing how like, because I think Megas were kind of the first one where you had, you know, special mega energy or whatever. Like, it’s, oh, it doesn’t sound great. Just the oddest. (0:31:33) Al: The the Megas actually I think is a lot better than it was when it first launched. (0:31:38) Al: So like you you can get one free mega for each of your mega Pokemon once a week. (0:31:45) Al: So once you’ve done the initial one, every week, you can do it once for free. (0:31:49) Al: You only have to pay more energy after the first one (0:31:53) Al: if you want to do it faster than that. (0:31:55) Al: And as you get up the power, like once you can level up the mega and once you get (0:32:00) Al: Mega level 3. It matters. (0:32:04) Al: How much it costs so like every if you were to do it every single day, you wouldn’t be using a huge amount of energy so it’s it’s not it’s it’s much better than it was initially launched and I get why you know it is a bit frustrating that you still have to use it energy at all but it’s a lot less annoying you also get energy if you walk with them as a buddy and stuff like that so you know it’s it’s fine it’s fine it’s these fusing ones that are the most annoying because it’s like. (0:32:33) Al: I know have my necrosimas and my cutums fused and I can never unfuse them because I would never be able to fuse them again right like it’s just that’s it if you chose the wrong one tough and it’s really annoying because one of them I did choose the wrong one and but there’s nothing I can do about that I’m stuffed and that’s just what I have to live with. (0:32:40) Kev: Mm-hmm. Mm-hmm. (0:32:46) Kev: Oh, no! (0:32:50) Kev: Ugh. (0:32:52) Kev: Oh, that’s rough. That’s rough, buddy. (0:32:53) Al: Still. Yeah, that is life but yeah so there’s actions Amazon to was done much better and I got shiny. (0:33:03) Al: And I got my energy and I’ve I’ve powered them up so nice powerful Pokemon looking looking great my shiny shield was it shield form kind of what it’s called and they have new adventure effects so. (0:33:04) Kev: Yeah! (0:33:10) Kev: Yeah, that’s the game! (0:33:18) Kev: That’s cool, that’s good. (0:33:19) Al: There we go. (0:33:22) Al: And they can also be used because they’re when they’re in that form they can be used at power spots, which normally only dynamics Pokemon can be used a pair of spots, but of course you can’t you can’t. (0:33:33) Al: And they can also be used in Dynamax session and Amazon to but when they’re in that form you can use them a pair of spots so that’s fun. (0:33:44) Al: So yeah, I probably do a little bit tomorrow as well because it was Amazon to things action tomorrow, but which is a bit annoying, but if you got the ticket for go fest you do get enough energy to do one of one of the dogs, so I do have enough to do as action, but I probably want to get enough to do another one. (0:34:02) Kev: Sure. Well, I am glad that you’re enjoying it. (0:34:03) Al: Continuing to enjoy Pokemon go despite everything. (0:34:07) Kev: I don’t… (0:34:11) Kev: This, well, that’s kind of, uh, I mean, that’s just a blanket save these days. (0:34:20) Al: They keep trying to ruin the game, but I still somehow enjoy it. (0:34:24) Al: All right, let’s talk about some game use a woo. (0:34:31) Kev: Oh, wait, wait, back up. (0:34:32) Kev: I’m sorry, I just– (0:34:33) Kev: I don’t know why you just clicked something in my mind. (0:34:34) Kev: I forgot. (0:34:35) Kev: I want to follow up my Magic the Gathering thing. (0:34:39) Kev: So as I look, you know, I was dipping my toe in the MTG pool. (0:34:44) Kev: Guess what’s the next secret layer? (0:34:45) Al: I don’t know. (0:34:46) Kev: You know me. (0:34:48) Al: Ah, ah, ah, pressure, um, unicorn over the light! (0:34:53) Kev: Haha, oh, oh, that’d be so (0:34:54) Al: No, ah, no, um, let’s see, so Kevin, something Kevin would like. (0:34:59) Al: Well, it’s not going to be like anything Nintendo. (0:35:02) Kev: No, no it’s just very funny hearing that. (0:35:04) Al: Wait, is it? (0:35:06) Al: No. (0:35:08) Kev: I didn’t intend, I didn’t intend, life log Nintendo Pass. (0:35:09) Al: Well. (0:35:12) Kev: You don’t like Nintendo things, um, but it won’t, uh, MTG, I gotta say, it wouldn’t be (0:35:15) Al: I mean, no, no, no, no, no, no, no, that’s the opposite of what I thought, Kevin. (0:35:19) Kev: in there. (0:35:20) Kev: Yeah, okay. (0:35:21) Kev: Yeah, okay, yes, yeah, I know what you’re saying, but the way it came in my ears, it’s (0:35:21) Al: What I thought was, oh yeah, it could be, you know, you like Nintendo stuff. (0:35:25) Al: And I was like, oh no, but they’re not going to do something with Nintendo. (0:35:27) Al: That was my point. (0:35:30) Kev: It’s not too funny. (0:35:31) Al: Trying to accuse me. (0:35:32) Al: Accuse me of not thinking you like Nintendo stuff. (0:35:34) Al: Ah, no, I’ve not got anything. (0:35:39) Al: Nothing’s coming. (0:35:40) Kev: Ow! The lowest hanging fruit! Gotta go fast! (0:35:44) Al: Oh, Sonic. (0:35:45) Al: What? They’re doing Sonic, Magic the Gathering? (0:35:47) Kev: They’re doing- okay. (0:35:49) Kev: Yeah! Dude, they already did SpongeBob! Who cares? (0:35:53) Al: What? This is what one out all these cards look so good. (0:35:54) Kev: Oh, you missed that! SpongeBob’s in magic! Oh, yeah! (0:36:02) Kev: Don’t they? (0:36:03) Al: Oh, no. Oh, no. (0:36:04) Kev: They look- that’s- that’s the exact reaction. (0:36:10) Al: I don’t want this. Well, no, I do want this. (0:36:14) Kev: And you- and- oh, my- like, Shadow- (0:36:15) Al: I managed to not even look at the Doctor Who and Lord of the Rings ones somehow. (0:36:18) Kev: Oh- oh, yeah. (0:36:20) Kev: Shadow looks busted. It’s insane. (0:36:24) Kev: They’re no big the cats, so point against them for that. No cream, either. (0:36:28) Kev: But overall, it’s- it’s in their- (0:36:31) Kev: Ugh, Sonic’s ability, ‘cause you know, when they have an ability, they have a little, like, name for it. (0:36:36) Kev: It- it’s literally “Gotta go fast.” (0:36:38) Kev: You know “Gotta go fast” isn’t even from the games. (0:36:40) Kev: It’s just from the, uh, the- the dub intro of an anime. [Laughter] (0:36:45) Al: Yeah, I’m not particularly surprised. (0:36:48) Kev: Oh, yeah, Sonic’s going to magic. (0:36:50) Kev: It’s- ugh. I don’t like it. I’m- I’m- I’m- oh, dear. I’m cooked, as the children would say. (0:36:58) Kev: You know, Unicorn Overlord, it- wild as it- it’s not in Magic the Gathering, but in- they have one of those- (0:37:04) Kev: What is it? I think it’s, like, the Overlord edition. You know, one of the big fancy collector’s editions. (0:37:08) Kev: There’s actually a whole (0:37:10) Kev: building card game inside that it’s wild (0:37:16) Kev: Yeah, card games are my vice. They’re my legal addiction. Sonic’s coming to magic (0:37:16) Al: And will this be coming and will this be coming to arenas? (0:37:28) Kev: uh good question I don’t know arena is very weird because arena has (0:37:39) Kev: arena is kind of its own environment it has exclusive arena cards it has its own formats (0:37:45) Kev: and i’ll tell you the the bad ones we’re getting a spider-man set in a few months (0:37:51) Kev: that the spider-man set cards are coming to arena but not with spider-man full (0:37:58) Kev: they’re going to replace them with whatever generic magic card characters or whatever (0:38:02) Al: What? What does that even mean then? (0:38:05) Kev: it means they didn’t get the license to use it digitally (0:38:07) Al: What would be the point in adding the cards then, if they’re not the cards? (0:38:11) Al: So they’re gonna have like the same effects, but not use any names for Spider-Man. (0:38:14) Kev: yeah yeah you you get yeah you get pied or arachnid avatar I don’t know (0:38:18) Al: That’s so stupid. (0:38:20) Al: Just don’t do it. (0:38:28) Kev: uh good old magic together I i joined just this year what a good time to get into this game (0:38:36) Al: Update, I have downloaded Magi the Gathering Eraser. (0:38:39) Kev: yeah oh we gotta play some games um all right let’s go to non sonic base oh or is there (0:38:44) Al: Yes, yeah, news, game news. No, no, no, no, there’s obviously not. Research story have (0:38:47) Kev: is there sonic base news maybe not yet one day it’s inevitable (0:38:56) Al: announced that their 1.0 is coming the 21st of July, so it has been a long time coming. (0:39:00) Kev: Okay (0:39:02) Al: Let’s see, when did this first come into Early Access? February 2023 was when this launched (0:39:04) Kev: Yes, oh wait research, so I don’t know I heard something else okay that that is exciting (0:39:11) Al: in early access. (0:39:12) Kev: Research work takes forever to ask Cody. That’s why the 1.0. It’s it’s forever (0:39:14) Al: So, maybe we need to get our second harvest on this after the 1.0 is out. (0:39:18) Kev: It’s the equivalent of getting their PhD congratulations research story (0:39:23) Kev: I’m sure Cody isn’t triggered by this at all (0:39:31) Kev: Okay, so wait we got let’s see what is the date on the oh July 21st there (0:39:38) Kev: It is but it’s available on the on a beta branch. That’s weird. What do you mean? (0:39:43) Kev: 1.0 will be available in beta before one point (0:39:45) Al: No, no, that’s so. So that’s before launch, you’ll be able to play the beta. (0:39:48) Kev: Yeah, I know that that’s very weird to me like (0:39:52) Al: Well, OK, I see what you mean. I see what you mean. I see what you mean. So (0:39:57) Al: it’s not actually that uncommon in software development where you go, this is our beta for (0:40:05) Al: 1.0 or 1.1 or whatever. That is not that uncommon, actually. I think it’s less common in games, (0:40:07) Kev: Sure. Yeah. Sure. And I mean, like, you know, public betas and test servers, (0:40:12) Al: But it’s definitely something that you see quite a lot. (0:40:18) Kev: like they’re common and I’m not saying it’s unheard of, but I don’t know. (0:40:21) Kev: It just feels weird, especially in game dev, like the 1.0 is the big fitting, right? (0:40:25) Kev: So, uh, I don’t know, but whatever, um, but hey. (0:40:28) Al: You still have to pop the game you can’t just play it’s not just anybody can play it like it’s public (0:40:33) Kev: Yeah. (0:40:34) Al: But public for people who have paid for the game, right? (0:40:37) Kev: That’s true. Good point. (0:40:40) Kev: All right. But hey, it’s here. (0:40:42) Al: Tiny garden the content the (0:40:45) Al: Featured game of last week’s episode have released a statement regarding the Nintendo switch version (0:40:52) Kev: I didn’t think I’d ever hear a statement from Tiny Garden. (0:40:56) Al: This is this is great. I’m just (0:40:58) Al: going to read some of the statement because I don’t think I can really (0:41:01) Al: summarize it better than they have done. “We wanted to clarify some questions (0:41:06) Al: that have arisen regarding the Nintendo Switch version of Tiny Garden. We have (0:41:09) Al: been vague and perhaps not communicated with you as well as we could have, for (0:41:14) Al: which we apologize. We did not want to cause you unnecessary concern or bore (0:41:18) Al: you with technical details. The truth is that the Switch version of Tiny Garden (0:41:23) Al: will be ported by an external company. As we are such a small team it was very (0:41:28) Al: hard for us to do everything in-house. The problem here is we’ve not yet found a (0:41:32) Al: company that can port the game with the polish and quality that we feel (0:41:35) Al: comfortable with. Both our publishers Super Rare Games and us want to deliver (0:41:40) Al: the best possible version of Tiny Garden on Switch. However, we did not (0:41:43) Al: anticipate that this porting would be so complicated.” Hey, I could have told you. (0:41:48) Al: We’ve seen this before. (0:41:50) Kev: What are you talking about? (0:41:52) Kev: It’s katrossi katronfi, it’s fuckies! (0:41:56) Al: And then they go into details about complaining. (0:41:58) Al: About their game engine and that’s the reason. (0:42:02) Al: Sure, fine. (0:42:05) Al: It’s funny because it’s like, oh no, we didn’t know it would be complicated to bring it to a (0:42:10) Al: console. Like what did you expect? Like these things are always complicated. (0:42:14) Kev: Well, yeah, I mean anything game dev is complicated pretty much anything dev software dev is always complicated (0:42:19) Al: Yeah, exactly. (0:42:21) Kev: Well, look here. Here’s your free advice tiny garden people call biting studio (0:42:27) Kev: Those are the guys who make cassette beasts that except beasts is on Godot. They brought it to switch (0:42:32) Kev: It’s awesome on switch. There you go (0:42:33) Al: Yeah, yeah, yeah, that’s the thing. I suspect if you do it in Unity or Unreal, I suspect (0:42:42) Al: it is slightly easier because they are obviously like larger companies use them and so therefore (0:42:51) Kev: They’re established. (0:42:53) Al: need the console support to be as good as it can be, right? Because otherwise there (0:43:00) Al: There would be big problems because Godot is. (0:43:04) Al: open source and therefore more likely to be used by smaller teams, and they are less likely to be focusing on consoles at all more likely to be focusing on just PC because that is the easiest for. (0:43:18) Kev: Uh-huh (0:43:18) Al: I mean, it’s just the easiest to develop for full stop right because there’s no gatekeeper right like that has has been the case for a long, long time. (0:43:20) Kev: Yeah, I mean yes, yes, that’s correct (0:43:26) Kev: And probably will always be the case because just the nature of the beast so yeah (0:43:28) Al: Exactly. (0:43:29) Al: Exactly. (0:43:30) Al: Exactly. (0:43:31) Al: So there’s, they’re probably simplifying. (0:43:33) Al: Things in what they’re saying, you know, these things happen. (0:43:40) Al: I would like to clarify again, please, if you’re backing a game on Kickstarter, if you (0:43:47) Al: want it for console, don’t back it on Kickstarter, right? (0:43:50) Al: Like just, just like it’s the console is always like, it is when the Kickstarter happens normally, (0:43:59) Al: the way that it is happened is there is a working version of the game. (0:44:03) Al: It may not be final. (0:44:04) Al: It may not have all the content, but they have a game and it can run on PC. (0:44:08) Al: There will be nothing running on console at that point. (0:44:11) Al: And it’s very likely, unless they are a team that have ported to console before, it’s very (0:44:16) Al: likely that they have no idea what they’re doing with consoles at all, right? (0:44:20) Kev: Yep. (0:44:21) Al: And this, this isn’t meant to be harsh on them. (0:44:24) Al: This is just a fact that if you have, if you’re not a console developer, you do not know how (0:44:29) Al: complicated it is. (0:44:30) Al: I am not a games developer, right? (0:44:33) Al: I’m a web developer. (0:44:34) Al: And even in web development, there are things that if you don’t know how it works, it is (0:44:38) Al: so much more complicated than you realize. (0:44:42) Al: And there are just certain things that are more awkward. (0:44:45) Al: And if you haven’t started development on it, you don’t know how complicated it is. (0:44:49) Al: And it is likely not going to be done until the game is finished. (0:44:52) Al: That’s the other thing, right? (0:44:55) Al: Even Stardew Valley still doesn’t get updates out day and date on console, right? (0:45:00) Kev: Yeah. (0:45:01) Al: and stardew valley (0:45:03) Al: is one of the biggest indie games, full stop. (0:45:06) Kev: Yeah. (0:45:07) Al: It’s not like he’s only on his own anyway. He has a team that he works with, he worked with (0:45:12) Kev: Nice. (0:45:12) Al: porting companies before, he has done many different things, and even he can’t do it. (0:45:20) Al: It takes so much work, even big companies struggle with that. (0:45:26) Al: It is rare for a game to come out at the same time on PC and console unless you are one of (0:45:31) Al: of the biggest games and they will. (0:45:34) Al: Completely different teams working on the PC version, working on the switch version, working on the PlayStation version Xbox is different because they’re like the Microsoft of well, pretty much Microsoft have done so much work and I, you know, I’m the first to jump on Microsoft a bad bandwagon, but Microsoft have done so much work to make putting games to Xbox so incredibly easy it’s not. It’s still not just as simple as click a button. It does. (0:45:36) Kev: Mm-hmm (0:45:41) Kev: Yeah (0:45:44) Kev: They are a PC (0:46:03) Al: It does it, but it is so much easier than any other console. If you have an existing PC game, especially if you’re using the tools that Microsoft give to make the game on PC. (0:46:07) Kev: Sure. Yeah. Well, I mean, guess. Hi. Hey, I’m still holding out for mighty number nine (0:46:15) Al: All that being said, all that being said, never back a Kickstarter for a switch game. Just don’t do it, right? (0:46:25) Kev: on the 3DS. Uh, but. (0:46:31) Al: I have, I have, when I, when I bought my steam. (0:46:33) Al: Dick, it was so good because it meant that I could go through and like change (0:46:37) Al: all of my kickstarters to use to steam codes instead of switch get codes. (0:46:41) Kev: Mmm, yeah, at least (0:46:41) Al: And you get the game a year before, right? (0:46:44) Al: It’s just every, every, every single one is there’s none of them. (0:46:49) Al: Not a single game that I have backed on Kickstarter has released (0:46:53) Al: on switch at the same time as steam. (0:46:54) Kev: year you’re not wrong not at all ah well you know what though in this (0:47:03) Kev: particular case there’s an easy way to fix this you know what you don’t even (0:47:07) Kev: have to release on the switch tiny garden just so you know what we’re (0:47:11) Kev: canceling it we’re investing everything into the playdate port and we’re all in (0:47:12) Al: Honestly, a Playdate port would probably be quicker, because it would have to lose features, (0:47:17) Kev: we’re good all is forgiven (0:47:24) Al: right? It’s not going to be the same, the graphics are simpler, like honestly, if they started now (0:47:31) Al: from scratch, they could probably get a Playdate version out before they could port their version (0:47:34) Kev: Well, well there you go, Tiny Guard. The path is there. (0:47:34) Al: to Switch. I’m not joking. They would of course get a fraction of the sales, right? There are (0:47:42) Al: Playdates. Yes, it does. I love the Playdate, it’s so good. I just wish I played it more. (0:47:44) Kev: the dozens look I mean I might join the dozens I’ll say that (0:48:00) Kev: Yeah (0:48:05) Al: As far as I can see, the only number I’ve seen on Playdate sales was in May of last year, (0:48:10) Al: They said 70,000 have been sold (0:48:12) Al: But that was one year into it, and we’re now a year later, so who knows

In this final installment of our three-part series on the Greek god Dionysus, we journey to the influential city of Ephesus—home to the community John was writing to—to examine just how prominent Dionysus worship was in the cultural fabric of this Greek world. John's audience knew Dionysus well. From there, we head north to Pergamum—one of the seven churches mentioned in the Book of Revelation—where the Temple of Dionysus stood in connection with a grand 10,000-seat theater. Each year, worshipers would gather to celebrate Dionysus, the god of wine, transformation, and resurrection. We then explore one of the most striking elements of this worship: the ritual consumption of meat and wine—the symbolic flesh and blood of Dionysus—believed to unite the participant mystically with the god. This ritual provides a powerful backdrop to Jesus' radical statement in John 6: “Eat my flesh and drink my blood.” The Gospel of John presents Jesus turning water into wine—not as a random miracle, but as a deliberate theological claim: Jesus is greater than Dionysus. He offers the true transformation—the kind that leads us back to the image in which we were created. For those seeking authentic change, John points to the one who is the visible image of the invisible God. --------------------------------------------------------- www.figtreeteaching.com Join the Fig Tree Coffee Club: https://www.figtreeteaching.com/store/p3/Fig_Tree_Coffee_Club.html Support Fig Tree Ministries: https://donorbox.org/support-figtree-ministries Fig Tree Amazon Portal: https://amzn.to/3USMelI Lesson Handout: https://www.figtreeteaching.com/blog/jesus-is-greater-than-dionysus The Roman Writer Plutarch commented that Jews Worship Dionysus: https://www.figtreeteaching.com/uploads/1/1/9/7/119763168/plutarch_on_jews_worshiping_dionysus.pdf Explore the first-century and historical context of the Seven Churches in Revelation: YouTube Playlist: https://youtube.com/playlist?list=PLCaBz_NhYH3H__qY2EuB9HmLS05Copopj&si=o9GKZkQKWjIFik72 Fig Tree Website: https://www.figtreeteaching.com/seven-churches-of-revelation1.html More Photos of Ephesus: https://www.figtreeteaching.com/ephesus-asia-minor.html More Photos of Pergamum: https://www.figtreeteaching.com/pergamon-asia-minor.html

Today on Ascend: The Great Books Podcast, we plunge into the second part of Euripides' The Bacchae—a harrowing yet gripping Greek tragedy that leads us deeper into the mystery of Dionysian eros. We'll observe the tragic descent of King Pentheus, the Bacchae as a parasite upon society, and the haunting themes of eros, justice, and the question of piety under an evil god.Check out thegreatbookspodcast.com for our reading SCHEDULE.Check out our Patreon page for our 25 Q&A GUIDE to the Bacchae.From the guide:Why should you read The Bacchae?The Bacchae challenges readers to explore religion, erotics, piety, cosmic order, and human nature in a controversial and unsettling landscape. Euripides' intent is not clear; thus, the reader is left to interpret a drama that seems to test longstanding Greek concepts, like piety and the gods.Dr. Grabowski acknowledges the play as an integral part of the “great conversation” in the Western canon, and Dcn. Garlick agrees by highlighting the play as an important antecedent to Plato's Euthyphro and Symposium. Though the work includes disturbing imagery, it is within those images that Euripides is wrestling with erotics, piety, and the cosmos. Somewhat shockingly, the play presents several parallels to Jesus Christ and invites the reader into challenging comparisons. Overall, The Bacchae stands as an important—though controversial—work in exploring the nature of man and his relation to the divine.How is Agave's death indicative of the destructive eros of Dionysus?The disordered eros of the Dionysian cult manifests as an anti-logos mania that is corrosive to the family and the natural political order. It brings societal instability. Dcn. Garlick explains that this Dionysian eros, unlike Plato's ordered ascent through the ladder of love in the Symposium, is a “disordered erotics” that “spirals down to bestial releases.” It is notable that the first group affected by the Dionysian cult are women, and the first act of these crazed women is to abandon their husbands and children—and then run wild in the woods nursing animals and engaging in orgies. Euripides presents a scene of perversion, a perverted femininity and motherhood. The Bacchae also adopt masculine traits, like strength, a desire to hunt, and acts of violence—like tearing animals apart with their bare hands. Dr. Grabowski observes this all leads to the destruction of the polis, as “if you pervert women… there will be no children… no future generations, and… no polis.” The women's rejection of domestic roles, driven by Dionysus' “erotic mania,” fractures the social fabric, leading to a “complete and utter collapse… of a polis.”The climax of this societal destruction is Agave's horrific act of killing her son, Pentheus, which Dcn. Garlick describes as the “zenith of this Dionysian madness,” epitomizing the cult's perversion of natural relationships. Under Dionysus' influence, Agave, “foaming at the mouth and her crazed eyes rolling with frenzy,” dismembers Pentheus, unaware he is her son until Cadmus restores her sanity. Dr. Grabowski calls this “sadistic” and “hideously perverse,” arguing it ensures “no polis… can survive if the Dionysian cult wins.” The murder of Thebes' king by...

Madness, piety, gore, and reason! Today on Ascend: The Great Books Podcast, host Dcn. Harrison Garlick and the always insightful Dr. Frank Grabowski delve into the first part of Euripides' The Bacchae—a chilling yet captivating Greek tragedy that explores piety, eros, the nature of the divine, and the fragility of societal order.The guys explore Dionysus, a god transformed from Homer's jovial wine deity into a “cruel” and “diabolical” figure worshipped through “frenzied madness and the bestial release of sex and violence." With its graphic imagery, raw intensity, and ambiguous morality, this play offers a rich discussion, serving as a critical antecedent to Plato's Symposium and revealing surprising parallels to Jesus Christ amidst its sordid chaos.Join us as we peel back the “bloody, terrible layers” of this darkly mesmerizing drama.Visit thegreatbookspodcast.com for our reading schedule and more!Visit our Patreon page to view all our guides to the great books!Guest: Dr. Frank Grabowski: At the time of recordin, a professor of philosophy at Rogers State University, third-order Franciscan, and a valued member of the Sunday Great Books group. His profound insights into Greek literature and philosophy illuminate the complexities of The Bacchae. Dr. Grabowski now serves as the Dean of Faculty at Holy Family Classical School.Why should you read The Bacchae?The Bacchae challenges readers to explore religion, erotics, piety, cosmic order, and human nature in a controversial and unsettling landscape. Euripides' intent is not clear; thus, the reader is left to interpret a drama that seems to test longstanding Greek concepts, like piety and the gods. Dr. Grabowski acknowledges the play as an integral part of the “great conversation” in the Western canon, and Dcn. Garlick agrees by highlighting the play as an important antecedent to Plato's Euthyphro and Symposium.Though the work includes disturbing imagery, it is within those images that Euripides is wrestling with erotics, piety, and the cosmos. Somewhat shockingly, the play presents several parallels to Jesus Christ and invites the reader into challenging comparisons. Overall, The Bacchae stands as an important—though controversial—work in exploring the nature of man and his relation to the divine.Next Episodes:Next week, we continue with Part 2 of The Bacchae, diving into Pentheus' tragic fall, the Bacchae's destructive frenzy, and the play's enigmatic conclusion. Upcoming episodes feature Aristophanes' The Clouds with guest Zena Hits and The Frogs with Tish Oxenreider, as we pave the way for Plato's dialogues.Thank You:A heartfelt thank you to Dr. Frank Grabowski for his brilliant insights and to our listeners for joining us on this ascent through the great books. Keep exploring, and we'll see you next week for more of The Bacchae's darkly mesmerizing drama!

Jason Jones joins David Gornoski to talk about his trip to Japan, delivering aid to Gaza, Laura Loomer's naughty list, Peter Thiel, Palantir, Dionysus vs Jesus, LA riots, and more. Follow Jason Jones on X here. Follow David Gornoski on X here. Visit aneighborschoice.com for more

An Irishman named Stef visited Austin recently. We met for a discussion about the revaluation of values, strange brain experiments with magnets, Gnosticism and its relation to the politics of castration, the brain's threat detection matrix as creating the "hard times strong men" cycle, the possibility of neuro-physiological centrism, and how this all relates to Dionysus v/s the Crucified.