Podcasts about Meru

David und Meru sprechen über das Chaos bei Microsofts Gaming-Abteilung XBOX.

After losing his brother to suicide despite being in psychiatric care, entrepreneur Kristian Ranta began asking difficult questions: Why do so many people struggle despite treatment? What if mental health care is overlooking key drivers of recovery?In this conversation, Dr. Bret Scher sits down with Kristian Ranta, founder of Meru Health, to explore a model that approaches mental health care differently by combining psychiatry, therapy, nutrition, metabolic health, sleep, exercise, coaching, and data-driven care.They discuss:Why nutrition and metabolic health are often overlooked in psychiatryThe connection between physical and mental healthWhy “treatment-resistant” may not tell the whole storyHow comprehensive lab testing can uncover hidden contributors to symptomsThe role of ketogenic and low-carbohydrate interventions in mental health careWearables, biofeedback, and personalized treatment approachesOutcome-based care and the future of psychiatric treatmentHow virtual care can expand access to underserved communitiesThis conversation highlights a growing movement toward whole-person mental health care, one that seeks to go beyond symptoms and understand the underlying factors that may be contributing to them.

Jarní mrazy a sucho, které se letos přihlásilo dřív, než bývá obvyklé, způsobily, že letošní úroda ovoce nebude tak dobrá, jak by si sadaři i jejich zákazníci přáli.

In this episode, we host Professor Meru Sheel to examine whether global health systems are prepared for the next major infectious-disease outbreak. Drawing on her work in infectious-disease epidemiology, vaccine research, emergency preparedness and global health security, Professor Sheel explores the difficult questions now facing governments, public-health agencies and international institutions: how quickly outbreaks can be detected, how effectively information is shared, and how public-health systems can respond before local emergencies become wider international crises. Set against the recent Ebola outbreak in the Democratic Republic of the Congo and Uganda, and the international response to the MV Hondius hantavirus outbreak, this conversation looks at the race between disease spread, surveillance, public trust and political coordination.We discuss why outbreaks test far more than medicine alone. Professor Sheel explains how public-health responses depend not only on vaccines, diagnostics and contact tracing, but also on logistics, risk communication, community engagement and trust in institutions. We explore the difference between individual severity and population-level risk, why a virus can be highly fatal without necessarily posing a pandemic-style threat, and why public-health messaging must warn people without creating panic. The episode also examines the role of the International Health Regulations, the World Health Organization, national governments and multidisciplinary response teams in managing complex, cross-border outbreaks involving cruise ships, repatriation, quarantine, clinical care and international contact tracing.Professor Meru Sheel is Professor of Infectious Diseases and Global Health at the University of Sydney. Her work focuses on epidemiology, vaccine research, outbreak preparedness, emergency response and immunisation systems, particularly across Australia and the Asia-Pacific region. She has worked extensively on the relationship between routine vaccination systems and health emergency preparedness, and her research examines how surveillance, community engagement, vaccine delivery, public-health coordination and equity shape the ability of countries to prevent, detect and respond to infectious-disease threats. The International Risk Podcast brings you conversations with global experts, frontline practitioners, and senior decision-makers who are shaping how we understand and respond to international risk. From geopolitical instability and organised crime to cybersecurity threats and hybrid warfare, each episode explores the forces transforming our world and what smart leaders must do to navigate them. Whether you're a board member, policymaker, or risk professional, The International Risk Podcast delivers actionable insights, sharp analysis, and real-world stories that matter.Dominic Bowen is the host of The International Risk Podcast and Europe's leading expert on international risk and crisis management. As Head of Strategic Advisory and Partner at one of Europe's leading risk management consulting firms, Dominic advises CEOs, boards, and senior executives across the continent on how to prepare for uncertainty and act with intent. He has spent decades working in war zones, advising multinational companies, and supporting Europe's business leaders. Dominic is the go-to business advisor for leaders navigating risk, crisis, and strategy; trusted for his clarity, calmness under pressure, and ability to turn volatility into competitive advantage. Dominic equips today's business leaders with the insight and confidence to lead through disruption and deliver sustained strategic advantage.Subscribe for all our updates!Tell us what you liked!

David & Meru spielen unbekannte neue Games. Dazu setzen sie sich einer Challenge aus und müssen zunächst 3 neu erschienene Videospiele für insgesamt 9 Euro bei Steam aussuchen. Den "Draft" könnt ihr auf unserem Discord-Server hören. Diese Games hat David ausprobiert: Ice Age, Wer hat meine Tastenbelegung geändert?, Which Hand? Diese Spiele hat Meru gepickt: Downsizing.exe, 101 Cats in Venice, Last Fisherman Besucht uns auf unserem neuen Discord-Server: https://discord.gg/8nGFUjXzYU Patreon: https://patreon.com/levelcapradio Musik: David Albus Paypal/Email: levelcapradio@gmail.com

Is AI really the end of creativity, or the biggest emancipation of creative energy we've ever seen? How can authors thrive in a time of super abundance, when anyone can make anything? What happens when publishers become technology providers, and agents start shopping for books on our behalf? With Nadim Sadek. In the intro, my AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Using AI as a research partner, editor, and constructive critic when writing a book The ratio of dreaming to execution Why publishers still draw red lines at AI-written words, and why that may change Inside Shimmr's three-engine advertising system: Strategizer, Generator, and Deployer Multimodal interactivity, agentic purchasing, and the idea of the Panthropic You can find Nadim on LinkedIn or at NadimSadek.com. Transcript of Interview with Nadim Sadek Jo: Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. So welcome to the show, Nadim. Nadim: It is lovely to be here. I feel very privileged to be invited onto this. Thank you. Jo: Oh, I'm excited to talk to you today, and we're really talking about AI. I wanted to start with the fact that you do seem to have a sort of relentless optimism. How do you remain so optimistic about AI when the publishing industry that we both work in seems so overwhelmingly negative? Lift our eyes to the horizon—what is the bigger picture? Nadim: Oh my goodness. That is a big one. I think my optimism is quite confined actually in the area of publishing. If you were to ask me to speak about AI more broadly—which you're not, but I'm going to give you a little bit of it—I've got lots of concerns. That includes the advent of autonomous weapons and economic singularity, where the wealth from AI as an industry is going into just a few hands, and energy usage, and cultural homogenisation, I suppose, and the potential for brain rot. There's a whole pile of stuff which is really not very good about AI, and all the normal things about fraud and theft and so on. However, if you recognise that and then you say what's going on in publishing, then the obvious thing that you first have to deal with is what did happen with copyright. Is it appropriate to say that things have been stolen and taken without permission and so on? It is. It's going through the American courts at one pace. I saw that Penguin Random House have started a case against OpenAI in Germany, where there will be a much faster legal conclusion—a judge's conclusion, I think. This will begin to put parameters on how copyrighted materials can be used, and possibly also some retrospective judgment about what has happened to this point and what can be done about it. So it's good that you've asked questions so early in our conversation, because I think —  It's important to contextualise my optimism. It is whilst noting with regret the behaviour of the AI industry—the models themselves—in not dealing with copyright in the most generous or appropriate fashion. I think we should also recognise that copyright probably wasn't designed for machine learning in the way that it is. Probably the industry wasn't terribly well prepared to note, negotiate with, and navigate the very fast-moving technological culture of AI companies. So I think lots of mistakes have been made on both sides. When you put all that to one side, what's left for me is an amazing emancipation of creative energy and also a huge efficiency being brought to the publishing industry. We can talk about both those things further, but for me that is what's going on. The efficiency of bookmaking and publishing generally—the whole workflow of getting a book out of somebody's head and into a reader's hands—I think is immensely streamlined and improved by AI. Actually, if you talk about it carefully, which I'm sure we will do, the ability of creators to share and let others experience their creative endeavours becomes so much better, so much fuller, so much richer. So that's why I'm excited about it. Jo: Well, let's get into those two things then. You mentioned the emancipation of creative energy, and you've worked with various AI tools as part of your creative and business processes. You've said that AI can be a creative companion. So specifically when it comes to Quiver, don't Quake, for example— How are you using the various tools in such an emancipated way? Nadim: Well, just to put a bit of a broader context on it, we're an AI-native company at Shimmr, and separately I wear a hat as an author. You mentioned the AI books and the children's books. I'm also writing a book about the psychology of motorcycling. So it's a very odd authorial footprint, but it means that I kind of tramp around the place and learn different things. What I've noticed, even within Shimmr, is that the whole team has been using AI tools very differently. Lots of people are very bright in the company. They're all brighter than me, and I salute them and love them. But they've all used AI to become more creative in their own ways. For example, our Chief Commercial Officer is very numerate and logical, and not loquacious. She prefers to say things straight and simply. She has become an unbelievably creative financial modeller and analyst because she uses AI in lots of different ways. So she has flourished and grown so much, and is creative in a way that she never could be before—not only around numeracy and financial matters, but in thinking through new concepts for sales and marketing and for our commercial development. I've just noticed all around me this going on. When it comes to me, I prefer to express myself through writing. I talk a bit as well, as you can tell, but my favourite means of communication is just writing. When I was writing Quiver, don't Quake, I would use AI in a number of different fashions. One would be for research. One of the chapters is about the psychology of creativity. I'm a psychologist, so I tend to come at things from a psychological perspective. What is the psychology of creativity? Well, here comes a million-word answer from an AI—this person said this, this person said that. Then I kind of focused my research in particular areas and assembled them by drawing from the outputs of several AIs about what has been said about AI, what the science says about it, what sociology says about it, what particular creatives that we're all aware of say about it, whether they're in the advertising industry or musicians or artists or whatever. So that was a very rich way of researching things. I would often put a chapter in—this is a slightly different use—a manuscript that I'd written and say, “Read this as if you're somebody just coming across my book, and tell me where the reader might struggle between one paragraph and another, or where there's a logical fallout, or where the concept isn't really very fully excavated and developed.” It would occasionally prompt me to say, “You could probably do with a line that brings the reader from this point to that point.” And usually I listened to that and then wrote something new. In another use case, I eventually gave it the whole book and said, “I think I've done an okay job here and I quite like the flow and I'm sort of satisfied enough, but before I send it to the publisher and say, ‘there you go,' what do you think? Are there any ways in which this book could become a better and more interesting read?” It came back fairly promptly and said, “Well, what you haven't really done is considered what all the naysayers would say. You've done your dark moments of militarism and all that stuff, but what about some of the other stuff closer to publishing or creativity?” So off I went on a new round of research, and did some myself and used the AI for other bits. The funny thing, really the ironic thing here, is that the book is much better, and most people salute the book for the eighth to ninth chapter that talks about the constructive critics. I assemble them all and articulate all their arguments and say how hideous AI is and how terrible it is for the world and all of us. And then I try to repudiate some of them, not in a defensive way, but just to say, actually, yes, that's one perspective and here's another one. That chapter, ironically, about how AI is terrible was prompted by AI. It said, “You should really have a go at me.” And so I did. So that was another use case. Then finally—perhaps I'll say this—I have a friend who is, I think, the Editor-in-Chief of Penguin in India. I got to know her at a book fair or something. We started chatting, and I told her about my kids' books. I said, “I could really do with an editor on these ten books that are due to be published.” She very generously, amiably, and very constructively gave me feedback on each individual book and then on the whole set. I was really happy with it. I said to her, “That was a delight.” She said, “You'd be much better off working with Editrix.” I said, “What's Editrix?” She said, “Well, it's an AI platform I've created where you can go and self-edit.” I said, “You must be kidding. I'd much prefer chatting to you and our interactions.” She said, “Yes, well, go and try it.” So I got an account for the Editrix AI. Off I went, gave it my books, and lo and behold, it came up with some incredibly sophisticated and subtle observations on the books that neither Meru nor I had seen. For example, there's a story where a boy who lives in a house on a hill meets another boy on a bridge, and they end up in a silly confrontation. They're young and foolish, and it sort of transpires that the other boy lived in a local village. Now, I suppose in retrospect, it's pretty obvious that this could be seen to be colonialist, imperialist, and a sense of entitlement from the boy at the top of the hill crossing the bridge first and so on. Hadn't crossed my mind. The AI said, “I can tell from the rest of your writing that you don't really have a sort of racist or imperialist or superior attitude to things, but in this story, there could be a misapprehension that you do.” I thought, wow, what a great warning. So I changed it. There are almost endless ways—and I can tell you others, because I'm writing a book about clouds at the moment—in which AI can help you as an author. I've just shared some of those with you. Jo: Yes, well, I love that. I also use it for research. I definitely use the “give me feedback as a reader avatar, as a reader of this type of genre” or whatever. Nadim: Yes. Jo: I use different tools as well, so I agree with you. All of that is, I think, what a lot of people are doing. You also said you did a lot of the writing and rewriting, so the human was very much there. This was not an AI-generated work in any way. It was using an AI as a sort of collaborator—a creative companion, to use your words—which I think is great. One of the things that AI-positive people like us are finding is that there's so much negativity around the traditional publishers, around other authors, around supposedly negative backlash from readers. I think there's a lot of very noisy people who are probably making this sound worse than it is. Since you are so embedded in traditional publishing in so many ways, how are publishing people thinking about this? Do you think it's just different in terms of the creative side versus say the marketing side? What is happening there, and what do you recommend for authors? Nadim: What I'm observing is that there is increasingly confident adoption of AI for corporate efficiency, which is a polite way of saying where one can see profitability being improved. Could you streamline legal contracting? Yes. Can you manage royalty payments better? Yes. Are there better sustainability prospects with managing a warehouse and distribution and so on with AI? Yes. Could you improve your marketing by looking at competitive titles and trends, and optimising your metadata and your SEO and now your GEO, all using AI? Yes, yes, yes, yes, yes. All of these things can be assisted. Can you manage much more of your backlist, where you don't have the human or financial capital to manage all of those titles in a truly respectful and invested way? Yes, yes, yes. So wherever there's corporate efficiency, I see publishers being increasingly bold about saying they have integrated AI into their workstreams. What's much more tentative and hesitant is where there's discussion of authors—and I do hesitate to use the right words here—being assisted by, employing, working with AI. I kind of shorthand it as creative emancipation. It really means very many different things. Let me give you the example that I referred to briefly a second ago of Cloud Land, which is probably my first real novel. I'm very lucky. I sit working every day at a desk that's got three windows, and I look at the sky, and every day it's different, and I'm fascinated by it. I've been flying around the world since I was very young—my father worked for the World Health Organization, we moved between many countries—so I've also seen clouds from the sky a lot. I've noticed that in different parts of the world there are different cloud formations. It came to me one day that it would be very interesting if the clouds were somehow sentient, and that there is a cloud society, and that Cloud Land lived above human land and absorbed and observed us. Actually, the more I started thinking about it, the more I thought, well, we kind of evaporate. We give off vapour all the time and it rises up to clouds and maybe we're sending DNA signals to it, and it condensates and sends rain and storms and winds and lightning and thunder and all. There's a huge amount of interaction between Cloud Land and human land if you think about it. So I went into an AI. I said, “Hey, I've been thinking about this, blah, blah, blah. Any observations on what I've been saying so far?” I think one of the first things it said to me was, “You are actually playing with quantum physics.” I had no idea what quantum physics were really. I thought, well, this is interesting. I went and researched quantum physics, and actually there is some of that in it. If you count Cloud Land as a creative notion— The original idea, the creativity, came wholly from me, and then the development of it has been assisted by working with AI. I as a creator have spent much more time originating ideas about a story than would historically have been true. I probably would have gone to a library, tried to find the right geography textbook, read up about clouds, discovered what the nomenclature is, thought about whether I could put characters to cumulonimbus versus stratus something or other, and kind of worked my way gradually through it. There is something that I refer to in Quiver, don't Quake, which is what I call the ratio of dreaming to execution. I think previously, without AI, creators would probably spend 80% of their time researching and trying to get information and assembling things and editing documents and spell-checking and doing a whole pile of different tasks None of which I actually dismiss, because I think sometimes those difficult and “menial” tasks give you time to let ideas percolate and flourish and grow. It's just part of the process. But whereas before, I think we probably spent 20% of our time originating and 80% of our time assembling, I think it's inverted now. You can probably do 80% of the time you want creating and 20% of the time fiddling about getting your act together. So I feel that that's a huge emancipation of individual creativity. There's also—and we can talk about this if you wish—I think a much broader sociological phenomenon going on, which is really about every person in the world, all 8 billion of us, being creatives. That's the way I see the world. I think that only a minority of that 8 billion have the gift of craft that we recognise—of writing or drawing or making music or being an architect or a biomedical scientist or something that's creative and assembling things. And AI gives you courage and helps you to identify what you wish to make. I really don't mean creating the artefacts. I don't mean painting or making a song or writing a book. I just mean helping one to express and articulate oneself so that one's creative idea is shareable and experienceable by others. Jo: Well, it's interesting. I mean, everything that we've discussed, you're really saying that the main line is the actual writing of the words, because none of us can articulate how ideas come. Especially with Claude, we might have a creative spark, but I'm sure you've found the same: if I go to Claude, which is my favourite, with my creative spark, by the time we've discussed it, possibly over days, I've lost track of who said what. The idea definitely started with me, because the AI at the moment doesn't have its own creative spark in terms of its own drive to write a book, for example. So it starts with me, but then it goes back and forth, back and forth—sparks new ideas, something it wrote makes me think about something else. I think the difficulty with how publishing seems to be doing this at the moment is that it is just the written words on the page that is their red line around “have you used AI to generate a book?” But even that, I just think, surely that will change. For example, in the publishing industry, ghost writing—or writing dead authors, like Wilbur Smith—I was going to say Wilbur Smith is a good one. I mean, we've seen them, just different dead authors essentially writing in the voice of those people. So I just see that there are many possible places where publishers might want this kind of tool. I don't know— Do you see any openness to the actual words themselves? Nadim: I think you're right to identify that that is the place that it gets stickiest. What you kind of do in your private time—imagining and dreaming things up and interacting—it's a facsimile for talking to your friends or another author or something. It's just an AI companion. So I think that that is, you're right, less scrutinised. It is when one examines the words on the page. It's funny—it's almost as if it's a measure of how hard did you work to do this? Or did you just splatter it down on the page by pressing a button somewhere? It's almost as if, as creatives, we have to evidence that we have suffered, you know? I think there's a different form of suffering when you write with AI. It's true that if you command AI in some way to write for you, the default writing will be pretty anodyne, pretty bland, pretty mundane. It is deliberately so. AI is created and it is tuned to be inoffensive, to please most people, to be accessible to most readers and consumers of it. So it's another thing that I encourage people to do: don't approach AI with a kind of Google mindset where you just do a question and answer—”what time is it in New York now?” “Well, it's five hours behind” or whatever. Instead you say, “Hey, listen, I'm thinking about clouds, but I want a bit of spittle going up and down between the two, and I'd quite like a crazy cloud that harasses us.” Well, now I'm putting in some of my idiosyncrasy and my eccentricity and my personal perspective. The more you do that, the more that even if you did press a button and say, “Command, I want you to write this book,” that will no longer be a bland and mundane bit of output. It'll be very tuned by your interactions, and it'll exhibit some of your nature. So I think there probably are factories—there's always factories. They're probably—and actually I know this—writing a lot of romance, writing a lot of porn, things which are fairly well parametered. You know what happens in both of those genres more or less, so it's pretty easy for a machine to emulate what an author might write there and go and do it. But if you get into something like, “a sand dune was my cousin”—like, okay, well that's a bit different. What do you mean? And there it becomes a much more interesting bit of writing. So I think we're going to see a spectrum. To come back to your question about where publishers draw red lines, I think it's where they just see straight away mundane output that doesn't feel like it had a lot of craft or ingenuity or hard work to it. But I believe that as we go on, that's going to become harder and harder to establish. As we become more sophisticated users of AI, and AI's capabilities to understand us and to work with us become better, then I don't think it'll be such a big question where the words came from. What we'll feast on with each other is our creative ideas and how they're expressed, but not how they were produced. Jo: I mean, I always say to people, I'm not a word generator. That's not what makes me or my books worthy. It is what I do with it. It's the stories I tell, or it's the personal things behind it. So generating millions and millions of words, whether you generate them by typing or handwriting or AI or whatever, it isn't the word generation that is the point. It's all of the things that make that finished thing what it is. So anyway, let's come back to the other thing, because you mentioned that publishers seem very happy around corporate efficiency, anything that drives profitability. You also mentioned that Shimmr is an AI-native company. Now, I, and many people listening—we are a one-person company. So I run my own company. It's a publishing company. I do all my publishing, I do all my marketing, I do all my business as just me. So I also use AI for a lot of this stuff. I wondered— How do you see publishers changing to become more AI-native? How can we as individual author-publishers do that too? Because it feels like a massive mindset shift, not just plug in Opus 4.7 here. Nadim: I have been found saying at various publishing events—and it is deliberately a little bit provocative—that I believe that publishers have always been technology providers to creatives. It's not only what they do, but it is a part that they don't seem to embrace very hard. Even if you just go back to Gutenberg—I mean, here's a printing press, it's a bit of technology. “I'll make your book, I'll make your words into books.” It started there, and it's always been. That applies to distribution and e-commerce and audiobook manufacture and all sorts of other things along the way. So I encourage publishers to accept the notion that what they should do to attract authors in the future is partly—only partly—develop their own house AIs. It can be as ethically trained as that house wishes to deal with the copyright furore. It can be tuned to do editing in a particular way. It can have a specific way of copy editing. It can have a collaborative notion. It can have an assistant that helps you understand genres and hotspots and competitive titles. It can help you to think about, as Americans might say, what's hot and what's not in the world at the moment. So you might be more attuned to what the market demands, if that affects you at all. Some writers don't care, and that's fine. It can certainly help with all the marketing then. How can you produce social media content that's appropriate to your book, and all the rest of it. So I think there's a way in which publishers could massively enable authors. I talk to tons and tons of authors clearly about Shimmr, and what they all resent, I would say, is finding their time stolen by trying to flog their work rather than make it. Jo: Yes. Nadim: So the marketing process is just theft of creative time for most authors, and they hate doing it, and they're often not very good at it, because it's a completely different skillset from creating great stories or writing non-fiction books about particular subjects. So I believe that authors should be embracing the notion that publishers will create their own house AIs. And goodness me, we might even decide which publisher we prefer to go to on the strength of their AI position. Wouldn't that be interesting? But that is what I see the future being. Jo: Yes. I mean, definitely there's some quite significant authors—Dean Koontz, probably one of the biggest—who went to Amazon because of their technical ability around publishing and marketing. He was like, “Yes, I want this because of this.” Not that he'd be in bookshops or whatever—of course Dean Koontz is—but yes, so I think you're right there. For individuals also, as you know, we can use AI to help us market. I upload my books to Claude when they're finished, and I've just been marketing today. I'll say, “create 10 Midjourney images based on this book and give me all the marketing copy.” So I think we can use it now to help us be more efficient. On the other side of that, I think the bigger thing that's starting to happen is marketing is now much easier in one way. Nadim: Yes. Mm-hmm. Jo: So it's getting fuller, or even more. Nadim: Yes. Jo: So how do we deal with this? Because Shimmr is an AI marketing company. How are you thinking about the predominance of very, very good AI marketing now? Nadim: Yes, and it gets better all the time. It's a great question. Obviously, strategically, as an enterprise, we've really had to think about this one. If I go back one step, I always believe that innovation succeeds when it starts in a narrow space. So when Shimmr launched, we put ourselves forward and were quickly embraced, I have to say, as automated advertising that sells books. Nothing particularly more complicated than that. “Okay, you do ads, you automate it for me, and it'll help flog my books. Yes, that's it.” We had a rush. We've worked with about 250 publishers. As you might anticipate, it started with smaller ones, then got bigger. We now work with the biggest as well. That notion of automated advertising selling books was successful. Actually, that was about three years ago—a bit shorter than three years ago. What's happened in that time is that we have now collected a ton of data, and meanwhile the AI models have become more sophisticated and competent. Maybe I should just pause briefly and say what Shimmr actually does. We've got three main engines that are all chained together, to use pretty old language. The first one is what we call the Strategizer. It reads the book, it understands what we call its book DNA. So it's the structural elements of what the narrative is, who the protagonists are, and all the rest of it. It's also a psychological study of it—what's going on, what are the emotions or the values, what are the interests, how they intersect, where are the tensions, all those sorts of things. The Strategizer decides, “Well, reading everything between the covers of this book and understanding the author's intent, this is the best way to put this book forward because here are its strong points.” It hands that off to the second machine, which we call the Generator, which says, “Thanks for the creative brief. I'll make you the ads now.” It does videos and music and captions and all the rest of it. Then it presents its newly baked campaign to the third machine, which is the Deployer, that says, “Okay, well, I know where to find the audiences for this. If that's the DNA of the book and this is the campaign that manifests it, then I know where to find these people.” It goes and autonomously deploys it in various media channels to specific audiences who might be interested in that content. So that's what we started doing, and that generated a huge amount of data. Where we've got to recently—really in the last six months—is understanding that, as you've just said, most people can generate their own stuff. So in some ways they can look just like a mini Shimmr. The thing that differentiates the content is always the strategy. What we have learned to do now—and it's because of an agentic framework—is we've moved beyond what's between the covers of the book to look at life. We look at culture, what's going on, what are the trends, what's in and what's out. Even if you take a particular trend—let's say, fascism—what's the language associated with it that's being treated positively and respectfully, and what's the stuff that leads to it being dismissed straight away? All those sorts of nuances around everything. But equally, as well as going deep with a set of agents on what fascism might be in today's culture, we also go wide and say, “Well, how does that sit next to loyalty or hedonism or ambition or something else?” So we get this very, very circumspect analysis of the market. Then, indeed, if you do write a book about—I'm really going off-piste here, but you know, the hedonism of fascism, like, God, that would be a weird book—you discover that actually you're not really competing with another book, but you are competing with that specific podcast and this movie that came out, and another movement that's born in Italy but it's moving across Europe now or something. So we were able to produce strategies which now lead to a much broader offer, one which is much more sophisticated and much more likely to drive success in a book or in a creative enterprise. It informs product listings, metadata, author communications, PR, SEO, GEO, and of course the thing that we started with, advertising. So things that you see made by Shimmr should be much more resonant and much more attuned to the world, and commercially much more likely to drive success, than simply saying, “Here's a book, make ten Midjourney images out of it.” Jo: Mm-hmm. Nadim: It's really about the quality of the briefing and the quality of the assets that you're able to produce by having a much more sophisticated Strategizer. So we've gone back into the intellectual property and the human analysis, in a way, of the world. To understand where a specific piece of creative work sits in culture and society has become a much bigger proposition. Jo: Right. So you did mention podcasts there. So as in, you might present to a publisher “these are the podcasts that they should pitch” for example? Nadim: There's that, of course, but it's also, don't think that this book is competing with these three titles which your team put together. It's more that, if people want to listen to hedonistic fascism, they can listen to that podcast before they read this book. Jo: Okay, that's interesting. Interesting times. So we don't have much time left, but I think one of the biggest questions that people have—even if they're AI-positive, as I am and many people listening are—it's not that we're worried about AI replacing us, because we know we're individuals and all that, but we are slightly concerned about the volume of books in the market. And not just books, but TV shows and YouTube and TikTok. It's very hard to stand out. You do say in the book: “When anyone can make, maybe creativity lies not in the making, but in making others care.” How can I move up the value chain? So for many of us who make an income this way, what are your recommendations? Nadim: Great question. And actually I think it's really central. My latest catchphrase is that in a time of super abundance, we need super discoverability. So it's exactly as you just said—tons of work, tons of movies, tons of podcasts, and tons of everything. If you believe in what I've been saying, which is that we're emancipating the creative spark of 8 billion people, there's going to be even more. So I believe that the solution is what I call multimodal interactivity. That doesn't mean multimedia—it means multimodal. Multimodal means you can engage with an experience in different modalities—the same idea. So my conviction is that if you write a book or make a painting or have a piece of music that you've come up with—or anything really, creatively—and you wish it to both survive the first six weeks of its birth and then thrive in a more perpetual way in society and culture, then people have to be able to experience and engage with your idea in multiple modalities. I would always write a book, because that's what I do. Others produce a podcast or write a piece of music—whatever the same sort of things. Any one of us needs to make sure that that reappears and is experienceable and interactable with in different modalities. So my book should have some Instagram reels. There might be YouTube shorts, there might be a podcast, there might be a piece of music associated with it, it could be a movie. It could be a game, it could be an app. You really have to think about allowing your creative idea—more than your creative artefact—to live in culture. Sure, you want to make an income from the artefact that you are good at producing. As many of your listeners, and I, would be writers of books, we want that to persist as a revenue stream, and it should do. I would simply argue that making sure that whatever you've produced in your book is manifest, and people can interact with it in other modalities, is the surest way to get it seen and discovered. Jo: Yes, it's interesting. I've actually started looking at making my non-fiction books into skills. Nadim: Yes. Jo: And also making markdown MD files—books as markdown files for agents to buy. Nadim: Very good. You are way ahead of the curve. Jo: Well, I sell on Shopify, as do many listeners, and Shopify, as I'm sure you know, is now enabled for agentic purchasing. We are in ChatGPT. So it's really interesting to think, well, if the agents go shopping for people now and in the future, what you want is to be able to find it. Also, I haven't actually put an explicit licence, but people email me and say, “Can I upload your books into an LLM?” And I'm like, “If you buy a copy from me, then yes, you can.” Nadim: Yes. Jo: So I think it's changing. And as you say, I do think that people are more and more going to want to say “buy the PDF and put it in NotebookLM” or use it as a skill. Nadim: That's right. Jo: That kind of thing. Nadim: Yes, and then they go on a walk with their dog and they listen to the podcast about your book, which they've created on NotebookLM. It's exactly that. I think my worst fear for publishers is that they lose so much of the value chain—distribution, creative collaboration, all sorts of things along the way—that the worst position they could end up in is simply as book manufacturers, which would be just one small manifestation of a creative idea. Jo: Well, I'm excited about the future. I hope you are too. I think you are. What are you particularly excited about in terms of the changes coming? Nadim: Well, if I can be my most extravagant now, my greatest excitement about AI and the changes that are coming are that it'll produce what I describe as the Panthropic. The Panthropic is a way of seeing AI not as a companion or some anthropomorphic being, but instead the repository of everything that humans have ever thought or felt or created or shared, accessible to us all in an anonymised way. It's just a repository of interactable information. My excitement about it is that the liberation that that gives to information—which becomes knowledge, which of course we all know leads to some power—should result in truly new thinking, new philosophy, new spiritualism, possibly new questions about what it is to be a human being and what life on Earth is all about. New economics, new employment, new education. I think one can too easily underestimate the massive liberation of intellectual consideration and creativity that's about to surf across the globe, and I'm so excited by it. Jo: Mm-hmm. Yes, me too. Very interesting times ahead. So where can people find you and your books and everything you do online? Nadim: I think the easiest thing is just to go to LinkedIn and find me there as Nadim Sadek. You can also go to my personal website, which is NadimSadek.com, and that'll take you wherever you want on different journeys and different parts of my career. It'll also give you links to books. Of course, they're available in all formats—audio, paperback, ebook—and in many different languages, all through Amazon and other platforms, and Spotify and Audible and all the usual things. Jo: All the usual things. Well, thanks so much for your time, Nadim. That was great. Nadim: It's a pleasure. Thank you so much for having me.The post AI, Creativity, And The Future of Publishing with Nadim Sadek first appeared on The Creative Penn.

এখানে আমরা নানান স্বাদের গল্প শোনাতে আসি।এই গল্প সফরের সঙ্গী হতে সাবস্ক্রাইব করে ফেলো আমাদের ইউটিউব চ্যানেল @Storyholics Join this channel to get access to perks:https://www.youtube.com/channel/UCFaWMzH6zynvDM8zu8YPSeQ/join✴️ Sponsor:এই ভিডিওটি স্পন্সর করেছে Oxidised Trends Hub (by S.S)এখানে তোমরা বিভিন্ন রকমের অক্সিডাইস জুয়েলারি এবং আরো অন্যান্য জিনিস নিজের পছন্দমত কিনতে পারবে।ফলো করো Oxidised Trends Hub এবং কেনাকাটার জন্য কন্টাক্ট করো নীচে দেওয়া লিঙ্ক এবং নাম্বারে। আর কেনার সময় নিচে দেওয়া প্রোমো কোড ইউজ করে তোমরা পেতে পারো upto 10% discount.• Promo Code: STH19• Whatsapp number - 7980582840Follow the Oxidized Trends Hub ( By S.S) channel on WhatsApp: https://whatsapp.com/channel/0029VbAxHUz5PO0uySyOtt27

David und Meru sprechen über den Einsatz von KI in der Welt der Videospiele. Ein paar Quellen: https://arstechnica.com/tech-policy/2025/03/openai-urges-trump-either-settle-ai-copyright-debate-or-lose-ai-race-to-china/ https://thisweekinvideogames.com/news/epic-games-begins-rollout-of-ai-powered-npc-tools-in-unreal-editor-for-fortnite/ https://www.thegamebusiness.com/p/one-of-the-worlds-biggest-game-makers https://www.heise.de/en/news/Google-s-new-AI-tool-causes-gaming-stocks-to-plummet-11162226.html https://www.musicbusinessworldwide.com/a-folk-musician-had-her-voice-cloned-by-ai-and-her-recordings-claimed-by-a-copyright-troll-welcome-to-2026/ https://www.bloodinthemachine.com/p/how-ai-is-killing-jobs-in-the-tech-f39 Besucht uns auf unserem neuen Discord-Server: https://discord.gg/8nGFUjXzYU Patreon: https://patreon.com/levelcapradio Musik: David Albus Paypal/Email: levelcapradio@gmail.com

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EP 630 Jasper Murume: Witchcraft in Meru, My Faith Journey & The Nairobi Scam That Changed Me

“Cartes imaginaires” Inventer des mondesà la BnF I François-Mitterrand, Parisdu 24 mars au 19 juillet 2026Entretien avec Julie Garel-Grislin & Cristina Ion, conservatrices au département des Cartes et plans de la BnF et commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 23 mars 2026, durée 17'25,© FranceFineArt.https://francefineart.com/2026/03/23/3703_cartes-imaginaires_bnf-francois-mitterrand/Communiqué de presseCommissariat :Julie Garel-Grislin & Cristina Ion, conservatrices au département des Cartes et plans de la BnFL'exposition Cartes imaginaires. Inventer des mondes invite les visiteurs à un voyage aux frontières du réel et de la fiction, à la découverte des liens entre cartographie et imaginaire. Car si les cartes tracent d'ordinaire les contours de terres connues, elles donnent également forme à des territoires imaginaires qui prolongent, interprètent ou personnalisent le monde réel. Conçu comme une expérience sensorielle et immersive, avec une attention particulière portée à la lumière et aux ambiances sonores, le parcours de l'exposition plonge les visiteurs dans des mondes inexplorés, mythiques ou littéraires. Il permet d'admirer 200 oeuvres mêlant parchemins médiévaux et art contemporain, atlas et livres imprimés, dessins et jeux vidéo.Passant du paradis terrestre à l'Atlantide, de l'Eldorado au monde de Narnia et des territoires de Game of Thrones à ceux d'Assassin's Creed, les visiteurs découvrent de nombreux chefs-d'œuvre cartographiques conservés au département des Cartes et plans de la BnF, ainsi que des prêts majeurs du musée Guimet, de la British Library, de la Bibliothèque bodléienne d'Oxford, de la Bibliothèque royale de Belgique et de la Bibliothèque apostolique Vaticane. Ainsi rassemblées, ces pièces d'exception font dialoguer différents espaces-temps, suscitant la réflexion, l'amusement ou la rêverie, et rappellent qu'il est nécessaire d'imaginer le monde pour pouvoir le représenter.Parcours de l'exposition – Un voyage en quatre escalesL'exposition conduit les visiteurs de tout âge au plus près de trésors rarement montrés au public et se déploie en quatre escales.La première nous entraîne dans les mondes inexplorés et plonge le visiteur au coeur de l'iconographie cartographique.Au-delà des tracés géographiques, les cartes intègrent des figures fabuleuses empruntées aux sources antiques et religieuses et transmises à travers les encyclopédies médiévales. Ces créatures peuplent les marges des terres connues et témoignent de la manière dont l'imaginaire se projette sur les territoires à découvrir.Le visiteur explore ainsi cinq continents, en compagnie de créatures chimériques qui seront progressivement chassées des cartes au XVIIIe siècle.La seconde présente les mondes légendaires, ces lieux imaginaires que l'on a crus réels.Mêlant réalité et merveilleux, les cartographes leur ont attribué une localisation terrestre : l'Atlantide, le royaume du prêtre Jean, l'Eldorado ou le paradis terrestre prennent forme sur le globe. Cette section entraîne le visiteur à la lisière des mondes terrestres et célestes. Les cartes extra-occidentales, notamment bouddhistes avec la représentation du mont Meru, témoignent d'une volonté d'ancrer dans l'espace des lieux mythiques à forte charge symbolique et cosmologique.La troisième explore les mondes littéraires, où la fiction émancipe les constructions géographiques de la réalité. Ces cartes imaginaires confèrent une consistance aux univers narratifs, du réalisme à la fantasy. Le visiteur déambule ainsi de L'Île au trésor à Narnia, de Final Fantasy à Game of Thrones.Pour clore le voyage, la quatrième escale considère la carte dans sa dimension évocatrice et subjective et fait dialoguer œuvres anciennes et oeuvres d'artistes contemporains qui s'inspirent de la cartographie. L'art déconstruit le dispositif cartographique pour révéler la construction d'une vision collective de l'espace, montrant que toute représentation du monde naît de l'imaginaire. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

David und Meru haben Marathon gespielt und sprechen über ihre Eindrücke zum neuen Extraction Shooter. Besucht uns auf unserem neuen Discord-Server: https://discord.gg/8nGFUjXzYU Patreon: https://patreon.com/levelcapradio Musik: David Albus Paypal/Email: levelcapradio@gmail.com

Award-winning filmmaker Quinnolyn Benson-Yates made her first feature documentary before film school—and its seven-year journey from short film concept to PBS distribution holds lessons every indie filmmaker needs to hear.Epic Bill follows an endurance athlete who lost everything when his video rental empire collapsed (thanks, Netflix). Bill's mantra—“show up and suffer”—became Quinn's filmmaking philosophy as she navigated polar vortexes, battery failures in -50° weather, and the brutal realities of distribution. In this episode, she shares how she cut a 93-minute film down to 56 minutes for PBS, why credibility matters more than connections, and the uncomfortable truth about what distribution actually solves.DocuView Déjà Vu:Free Solo, 2018, 100 mins, Watch on on Disney + Package / Hulu, IMDB Link: Free Solo (2018) ⭐ 8.1 | Documentary, Adventure, SportMeru, 2015, 90 mins, Watch on Prime Video, IMDB Link: Meru (2015) ⭐ 7.7 | Documentary, SportCrip Camp: A Disability Revolution, 2020, 106 mins, Watch on Netflix, IMDB Link: Crip Camp (2020) ⭐ 7.7 | Documentary, HistoryWhat You'll Learn:Why “fail early, fail often” should include “fail sustainably”How archival footage transformed a short film into a featureThe PBS application process (NETA) and what it requiresWhat intermediaries like Bitmax do for Apple TV/Amazon distributionWhy distribution doesn't make your career—you doAbout Quinnolyn Benson-YatesQuinnolyn Benson-Yates is an award-winning filmmaker with an MFA from USC School of Cinematic Arts. Her feature documentary Epic Bill gained nationwide PBS distribution with promotions on CNN and SiriusXM, and is now available on Amazon and Apple TV. She's a two-time winner of Santa Barbara International Film Festival's 10-10-10 competition, and her short film Miss River screened at Palm Springs LGBTQ Film Festival. Her most recent short, a Western comedy called Man, premiered at Austin Film Festival. She's currently developing her first narrative feature about a middle school girl starting a punk band with her dad—inspired by her own childhood as an eight-year-old punk rock singer.Website: QBY | Film: Epic Bill - The Film | Instagram: @‌quinnolynIf you're enjoying the show, please subscribe and leave a review!Sponsor: Virgil Films http://www.virgilfilms.com/Support us by buying merch or watching our films: https://documentaryfirst.com/Follow our Substack Blog: https://documentaryfirst.substack.com/Join our newsletter (bottom of page): https://thegirlwhoworefreedom.com/Donate to help us tell more stories: https://givebutter.com/LivingStoriesLtdSupport us on Patreon00:00 Introduction04:27 Quinn's journey: punk rocker to USC film grad06:44 Current projects: narrative feature development08:02 Epic Bill origin: short film becomes seven-year feature10:08 Why documentaries take so long13:22 Bill's philosophy: “Show up and suffer”17:35 Applying endurance athlete lessons to filmmaking21:59 Filming in extreme conditions as a new filmmaker25:26 Fail early, fail often—fail sustainably27:01 Hardest scenes: -50° battery failures and emotional breakthroughs30:44 Bill's financial story: millionaire to bankruptcy33:57 What beliefs needed to die for Bill to succeed38:52 Leslie Murphy: the stakes character (Free Solo comparison)43:36 The PBS path: NETA application and cutting from 93 to 56 minutes46:33 Bitmax and Apple TV/Amazon distribution51:02 Deliverables that surprised her54:13 CNN and SiriusXM promotion: cold emails and pitch packets56:45 Industry Stress Test: Plan A, B, C when nobody's buying1:00:04 Uncomfortable truth: distribution doesn't make your career1:01:01 Practical tool: scene-by-scene film study method1:03:49 DocuView Déjà Vu: Free Solo, Meru, Crip Camp

David und Meru sprechen über die nächste Konsolengeneration, wie PS6 oder die kommende Xbox. Hier findet ihr die NDR-Doku, von der David erzählt: https://youtu.be/fkqSOj4H8Ik Besucht uns auf unserem neuen Discord-Server: https://discord.gg/8nGFUjXzYU Patreon: https://patreon.com/levelcapradio Musik: David Albus Paypal/Email: levelcapradio@gmail.com

Wakulima wa Meru kaskazini mashariki mwa Kenya wanakumbatia matumizi ya mitego ya wadudu inayotumia nishati ya jua ili kukabiliana na false codling moth (FCM), mdudu anayeharibu mazao ya parachichi. Eneo la kaskazi mashariki huzalisha kiwango kikubwa cha parachichi zinazouzwa ulaya na Asia Kupitia teknolojia hii, wakulima  sasa wameanza kupata nafasi katika masoko ya nje....vile vile wamepunguza utegemezi wao kwa viuatilifu vya kemikali,hivyo  kuongeza kipato cha wakulima.

Radical Mondays With Ronald Meru | Magical Kenya Open by Capital FM

En esta ocasión jugamos a ¿qué prefieres? con preguntas de nuestra comunidad de Patreon donde contestamos preguntas como: ¿Orinar una uva o cagar una piña? ¿Shot de regla de tu mamá o de semen de tu papá? ¿C*gerse a un tipo que no conoces o c*gernos entre nosotros? y más situaciones imposibles. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro4:45 ¿A qué sabe un vasito de saliva de un vigilante?6:09 Un "qué prefieres" muy personal6:28 ¿Tu mamá en el cuerpo de tu novia o tu novia en el cuerpo de tu mamá?9:07 ¿Quejarte con un indigente o decirle "te entiendo" a alguien en silla de ruedas?11:00 ¿Tu música favorita o tu comida favorita?11:18 ¿C*ger mal o comer mal?13:16 ¿Volver al pasado con nuestros conocimientos o ir al futuro con $250.000?17:10 ¿Orinar una uva o c*gar una piña?21:25 ¿Que todo lo que comas sea gratis o que todos tus vuelos sean gratis?24:11 ¿Que tu hija salga con alguien como tú o que tu hijo pase por todo lo que has pasado?25:04 ¿Pelearse todos los días con un gallo o dos veces al mes con un orangután?26:18 ¿No tener brazos y piernas o no poder ver ni escuchar?26:48 ¿Girar con hemorroides o con diarrea?27:47 ¿Solo consumir contenido viejo o solo contenido nuevo?31:14 ¿Tener una TV vertical y poder caminar por las paredes o TV normal y caminar por el piso?31:55 ¿C*ger con Sydney Sweeney con tu mamá viendo o perder la oportunidad?32:26 ¿Que te digan "tu mamá es p*ta" o "tu papá es m*ricón"?32:44 ¿Perder el tacto o perder el gusto?33:00 ¿Que tu pareja tenga acceso a tus conversaciones o a tu ChatGPT?33:15 ¿El primer 15% de una mamada o el último 15%?35:21 ¿Que tus suegros te odien o que estén atraídos por ti?35:48 ¿Poder hablar con todos los animales o todos los idiomas?37:00 ¿Saber cuándo te vas a morir o saber de qué te vas a morir?37:47 ¿Oler mal siempre y ser gracioso u oler bien pero no darle risa a nadie?38:22 ¿Tener la razón y caer mal o ser querido y bruto?38:32 ¿Estar en la lista Epstein o en el gobierno de Maduro?39:47 ¿Shot de regla de tu mamá o de semen de tu papá?40:14 ¿Que el 2026 sea el peor año de tu vida o vivir los últimos 4 años buenos?41:04 ¿C*gerse a un tipo que no conoces o c*gernos entre nosotros?41:46 ¿C*gar poquito cada hora o una vez a la semana del tamaño de un gato?42:52 ¿Ser olvidado al morir o ser recordado por algo horrible que no hiciste?43:05 ¿Que no se te pare por 5 años o quitarle 5 años de vida a tu mamá?45:38 Outro

En esta ocasión hablamos de la realidad actual de la industria p*rnográfica y del candidato a gobernador de Florida que quiere imponer un "impuesto al pecado" para las personas que crean contenido para OnlyFans. Además, conversamos sobre la primera vez que Chris fue a comprar condones y de cómo sería un episodio de Escuela de Nada en OnlyFans.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro1:44 ¿Los tatuajes están pasando de moda?3:47 ¿Las mujeres cargan condones en la cartera?7:04 La primera vez que Chris fue a comprar condones9:39 La evolución de los juguetes s*xuales11:01 Los países con mayor industria p*rnográfica17:10 El OnlyFans de Escuela de Nada20:32 El impuesto al pecado23:52 La razón por la que hay tantas onlyfaneras27:59 ¿A la sociedad le hace daño el p*rno?29:30 Viene la caída de los influencers31:17 Las mejores actrices p*rno no son las más bonitas31:12 ¿Cómo es una persona que hace webcam en la intimidad?36:00 Así va a ser el 2026 en EDN

En esta ocasión hablamos de los anime que hemos visto, cómo nos quedamos atrasados en este mundo y Guille nos explica cuáles animes deberíamos ver. Además, conversamos de las maravillas del mundo que hemos visitado, cuáles creemos que deberían ser consideradas las nuevas , y si el mundo de los Legos pasó a ser un hobby de adultos.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro3:36 A los brasileños les dan risa los memes en español6:05 ¿Cuántas maravillas del mundo conocemos?9:09 Creamos las nuevas nuevas maravillas del mundo10:43 Lego ahora es para adultos13:15 La mamá de Leo es gamer14:10 Los videojuegos mueven muchísimo más dinero que el cine16:40 El videojuego de Escuela de Nada20:26 Escuela de Nada no entendiendo Pokémon por 7 minutos27:40 El power ranger verde original aprendió a robar casas por su papel30:00 ¿Dragon Ball es el mejor anime de la historia?31:19 La cronología del anime para millennials según Guille35:14 El anime toca temas realmente profundos36:12 ¿Escuchamos opening de anime en la calle?37:45 Entendiendo Chainsaw Man39:25 El anime con mejores gráficos del mundo40:43 Los premios al mejor del anime del año42:47 ¿Qué anime deberíamos ver?46:39 Outro

En esta ocasión, Daniel y Guille nos cuentan cómo empezó su convivencia como roomies, las reglas de un buen roomie y todo lo que define a uno malo. Además, hablamos de qué pasa cuando uno se enamora, cómo cambia la dinámica de la casa y si hay que avisar antes de mudarse con la novia.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro2:30 Los roomates3:45 Guille vivió en el estudio5:54 La RooMamá6:52 Son roomates por accidente7:58 Leo fue garante del apartamento de Daniel9:29 Roomates del destino10:38 Las Perras de Daniel y Guille12:19 Guille dejo mal a una casera12:58 Daniel en su momento más desesperado13:56 La convivencia entre roomates15:14 Daniel y Guille son unos desordenados17:18 El peo más grande que han tenido20:09 Anatomía de un buen roomate21:07 El amor cambia a los roomate23:02 Daniel tuvo un roomate gay25:18 ¿Se le cobra renta a la novia del roomate?28:46 Guille Fue Rappi del amor29:35 Lo que más le molesta a Daniel de Guille31:34 Lo que más le molesta a Guille de Daniel34:38 Guille y Daniel cambian mucho cuando tienen pareja35:18 Las áreas comunes roomisticas36:32 Daniel prueba los límites de la heterosexualidad37:20 Los roomates se ven los p*nes37:53 Daniel le quiere ver el p*ne a Leo38:44 El pre aviso de mudanza amorosa40:43 Se renueva contrato roomistico?41:25 El aprendizaje entre roomates43:35 Chris odia el corte de Guille44:15 ¿Qué han aprendido como editores?46:03 Las autistadas históricas de Guille48:04 Deal breakers de roomate49:10 Miedos de ser roomate

En esta ocasión hablamos del viaje de Leo a China y Japón y de las principales diferencias entre estos dos países. Nos contó anécdotas del viaje, como las costumbres al comer en China y los famosos eructos, lo mejor de Tokyo y su culto a Dragon Ball. Además, debatimos sobre las diferencias de belleza entre Oriente y Occidente y cómo en Latinoamérica aún no tenemos ciertas tecnologías.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro1:52 El 2025 se cerraron muchos ciclos6:14 Chris casi pierde su vuelo el día de la caída de Maduro8:30 Nacho está en la etapa hakuna matata de su vida9:58 El viaje de Leo a China y Japón13:10 ¿Hay muchos extranjeros en Japón?16:15 La burocracia para entrar a China18:00 ¿Cómo es el vuelo a Japón?20:05 ¿A qué huelen Japón y China?21:00 La principal diferencia entre China y Japón24:59 ¿Cómo es posible que no tengamos esta tecnología en occidente?26:20 ¿Cómo es la comida en China y Japón?28:25 ¿Hay mendigos en China?29:13 El edificio de 7 pisos de puros repuesticos de teléfonos en Shanghái31:44 ¿Cómo se consigue un buen hotel en Tokyo?34:50 ¿Cómo es recibir el año nuevo en Tokyo?37:58 En China no puedes usar ninguna red social occidental39:37 ¿Cómo es un día turístico en Japón?45:20 ¿Comeríamos comida venezolana en Japón?47:30 No se puede fumar en la calle en Tokyo48:54 Los templos asiáticos son impresionantes51:45 El culto a Dragon Ball en Tokyo53:18 Los precios en Japón vs China54:08 Leo fue a Disney en Shanghái57:05 La moda de Japón vs China58:10 La razón por la que Hong Kong es tan diferente al resto de China1:02:58 El turismo de la miseria es rarísimo1:05:10 Leo fue a un café de conejos que olía a m*erda1:05:30 Hay lugares en China que parecen abandonados1:06:57 En China no le tienen ningún asco a eructar en público1:10:38 Outro

En esta ocasión hablamos de las cosas materiales que más deseamos. Además, conversamos de cómo Chris se marea en los Tesla, si es deprimente vivir solo en una casa muy grande y qué compraría Daniel con 2 millones de dólares.Gracias a:MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro3:40 ¿Se dice lagaña o legaña?4:38 Leo se peleó con ChatGPT6:40 No está mal querer cosas materiales8:03 El sueño de Leo es tener una casa muy grande11:27 Tener mucho espacio para ti solo es muy deprimente11:25 Chris quiere tener un apartamento en Nueva York19:13 Todos somos malcriados con algo21:30 Nuestros sueños materiales28:35 ¿La tecnología va a bajar de precio?30:08 Chris se marea en los Tesla33:20 Nuestro carro soñado35:00 ¿Cómo funciona traer un carro de otro país?38:40 Queremos dinero para tener acceso a lo que nos de la gana45:30 Los toderos de los millonarios47:30 ¿Es más fácil hacer plata hoy en día?51:00 ¿Qué compraría Daniel con 2 millones de dólares?

En esta ocasión hablamos de los efectos que puede tener en una persona vivir en una ciudad caótica y por qué la gente está empezando a migrar hacia pueblos más tranquilos. Además, conversamos sobre las estafas de Black Friday y qué pasa si te quedas encerrado en el baño de un hotel.Gracias a:MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro2:15 Madrid en diciembre es un caos total3:28 Las ofertas de Black Friday son una estafa5:13 ¿Cuál es nuestra reacción cuando vemos una protesta?6:35 ¿Cuánto gana una persona en Primark?9:00 ¿Qué pasa si te quedas encerrada en el baño del hotel?15:00 El teléfono misterioso en los baños de hotel18:04 ¿Te meterías los dedos en el c*lo para deshincharte?20:36 Las cuentas de TikTok de desocupas en España24:40 No hay nada como estar en tu casa25:39 Atraparon a Chris haciéndose una paja27:10 Los seres humanos no estamos diseñados para vivir en la ciudad31:57 ¿A qué pueblo emigrarían?

En el último episodio del año hablamos de Las mejores y peores cosas que pasaron en el 2025. Además, conversamos de cómo puede ser el 2026 y qué va a pasar con la burbuja de la inteligencia artificial el próximo año. GRACIAS A:NordVPN Deal ➼https://nordvpn.com/ednDeal exclusivo de 4 meses gratis.MERU ➼ la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.0:00 Intro2:33 La teoría de por qué la gente no se suelta en público3:40 ¿Cómo serían nuestras vidas sin internet?4:24 ¿Qué sabemos del 2026?6:01 Puntuamos el año 2025 de cada uno14:00 La teoría de la era "post veneca" de Leo18:42 El verdadero aporte cultural de Bad Bunny20:30 Este año vendimos la arepa más barata22:55 Tuvimos invitados increibles27:50 Recuento de lo mejor del 2025 de EDN29:55 Los famosos que murieron este año30:40 El mejor momento del año según Nacho32:50 Este año nació el Italian Brainrot33:30 Cuando Venezuela sea libre vamos a:37:15 El nuevo Papa37:45 Este fue el año en que explotó la inteligencia artificial41:05 Predecimos que bandas volverán en el 202641:40 El 2025 es el año del slop45:19 Los cambios en Escuela de Nada46:08 Cómo fue el primer año de Guille en México49:05 OutroSi quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada

En este episodio regalo seguimos hablando en el lado B con Sascha Fitness sobre la relación entre ser genuino y el éxito. Además, hablamos sobre cómo es una lotería tener química con tus invitados del podcast y qué le faltaría por hacer antes de morir.Gracias a:MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaY por último, síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenadaDiscord: https://discord.com/invite/S8bYM6A0:00 Intro0:40 ¿Cuánto dinero es suficiente?5:15 La relación entre ser real y el éxito11:20 Salir con gente que gana menos que tú13:40 ¿Lo genuino va a dejar de vender?16:36 La lotería de los invitados de EDN20:33 ¿Qué conciertos le gustaría ver a Sascha Fitness?22:16 Amor a las canciones tristes

En esta ocasión hablamos de la broma de cámara oculta que le hicieron a Chris y cómo reaccionaríamos si nos hacen bromas en la calle. Además hablamos de la nueva gripe aviar que está dando y de si la cantidad de pastillas que tomamos hoy en día nos hace daño.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaGracias a:NordVPN Deal ➼ https://nordvpn.com/ednDeal exclusivo de 4 meses gratis.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Y por último, síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenadaDiscord: https://discord.com/invite/S8bYM6A0:00 Intro 3:50 ¿Está dando un nuevo virus?7:46 Las últimas palabras de Ozzy Osbourne11:10 Los lugares que más daño te pueden hacer14:37 ¿Chris se volvió dependiente de las pastillas para dormir?16:36 La verdad sobre la gripe de hombre18:55 ¿Cuántas pastillas tomamos todos los días?24:03 El proverbio chino de Chris Andrade31:21 ¿Cómo se debe reaccionar a una broma de cámara oculta?37:17 La gente que habla bien de ti y luego te lo saca en cara40:55 Las interacciones más raras que hemos tenido en la calle

Otro episodio en vivo de Escuela de Nada. En esta ocasión hablamos sobre la ceremonia del premio Nobel de la Paz y de cómo pudo haber salido María Corina de Venezuela. Además, conversamos del buque petrolero venezolano incautado por Estados Unidos.Gracias a:NordVPN Deal ➼ https://nordvpn.com/ednDeal exclusivo de 4 meses gratis.MERU, la billetera digital global que te permite manejar tu dinero sin fronteras.Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app.Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenadaEscúchanos en Spotify https://open.spotify.com/show/4xOM98A8Es30eGevw6tYwe?si=QwORHX8BTMyzKxJOa9_oZQ&dl_branch=1Síguenos en nuestras redes sociales:ESCUELA DE NADA Instagram: https://www.instagram.com/escueladenada/Twitter: https://twitter.com/escueladenadaTik Tok: https://www.tiktok.com/@escueladenadaFacebook: https://www.facebook.com/escueladenada0:00 Intro3:06 Se viene la vida sentimental de Leo en Patreon 4:36 La ceremonia del premio Nobel de la paz8:00 ¿Los lentes que graban son niches?13:55 Danny Ocean cantando el Alma Llanera nos destruyó15:10 La salida de María Corina Machado de Venezuela23:15 Estados Unidos incautó un buque petrolero venezolano25:35 Estamos en medio de una batalla mediática36:00 El tío de Guille escribió la canción de cumpleaños venezolana 43:20 ¿Cómo pudo haber sido el escape de María Corina Machado?1:00:50 Esperamos la salida de María Corina en Oslo1:04:30 Los momentos más icónicos de la dictadura1:07:40 Leemos sus comentarios1:13:35 Fantaseamos con ir a Venezuela1:16:00 Outro

En esta ocasión hablamos de la posible compra de Netflix a Warner y cómo podría afectar al cine para siempre. Además, conversamos de la razón real por la cual las empresas millonarias siguen gastando tanto dinero. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro 4:15 Chris se desesperó y se afeitó completamente 7:00 Chris intenta explicar el corte de pelo de los sifrinos  11:30 ¿Netflix compró Warner Bros? 11:15 ¿Está muriendo el cine? 21:04 El origen de Netflix 23:08 El lost media y tener el contenido en físico 24:45 Por esta razón las empresas millonarias gastan tanto dinero 26:54 HBO y la polémica de Mad Men 29:00 Hulu es la mejor plataforma para ver stand up 33:27 Regresó la piratería con todo 37:30 Estamos hartos de que el contenido esté dividido en tantas plataformas 41:15 La experiencia del usuario está por el piso 43:48 La burbuja de la IA en el entretenimiento 48:30 Cada vez es más difícil estar al día con todo el contenido Learn more about your ad choices. Visit megaphone.fm/adchoices

Los dealbreakers más específicos de relaciones - EP #699 En esta ocasión conversamos sobre los mayores deal breakers en una relación y si es posible soportarlos cuando te gusta mucho esa persona. Además, leemos los tweets de Petro luego de que descubrieran que gastó 40 euros en un burdel y Chris nos contó cómo se enteró su contadora que pagaba Only Fans. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro  2:06 Cómo es llegar a presentar un show en Uber 6:17 Chris no nos esperó para ir al museo 13:37 Descubrieron que Petro fue a un burdel en España 19:16 La historia de cuando Chris pagó Only Fans 24:08 Padre e hijo se confiesan anécdotas s*xuales 30:30 ¿Salir con alguien religioso es un deal breaker? 33:40 Chris dejó de salir con alguien porque no sabía inglés 38:00 ¿El dinero es un deal breaker en una relación? 45:00 ¿Cómo es tener un novio vasco? 52:35 Para ella los latinos son un deal breaker 56:40 Es difícil tener una pareja extranjera por la diferencia de códigos Los dealbreakers más específicos de relaciones - EP #699 En esta ocasión conversamos sobre los mayores deal breakers en una relación y si es posible soportarlos cuando te gusta mucho esa persona. Además, leemos los tweets de Petro luego de que descubrieran que gastó 40 euros en un burdel y Chris nos contó cómo se enteró su contadora que pagaba Only Fans. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro  2:06 Cómo es llegar a presentar un show en Uber 6:17 Chris no nos esperó para ir al museo 13:37 Descubrieron que Petro fue a un burdel en España 19:16 La historia de cuando Chris pagó Only Fans 24:08 Padre e hijo se confiesan anécdotas s*xuales 30:30 ¿Salir con alguien religioso es un deal breaker? 33:40 Chris dejó de salir con alguien porque no sabía inglés 38:00 ¿El dinero es un deal breaker en una relación? 45:00 ¿Cómo es tener un novio vasco? 52:35 Para ella los latinos son un deal breaker 56:40 Es difícil tener una pareja extranjera por la diferencia de códigos Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta ocasión conversamos con la gente de Sevilla de las peores experiencias humanas y de la vez que Chris y Nacho se desmayaron. Además, hablamos de que a Leo una persona que acababa de conocer le hizo una consulta médica sobre sus hemorroides en un restaurante. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro 2:16 Chris nos presenta en francés 3:03 ¿Por qué hay ciudades con gente más atractiva? 9:32 Chris quedó atrapado en una procesión en Sevilla 15:30 Lo que nos sorprendió de Sevilla 18:14 En Sevilla nada abre los domingos 20:42 Le hicieron una consulta médica a Leo en un restaurante 25:33 La experiencia de Nacho con las hemorroides 32:05 La primera vez que te encuentras a tu ex 42:28 No entendemos que usen "panchito" como insulto 51:18 Desmayarse es una de las peores experiencias 1:01:35 Chris borró sus recuerdos entre los 19 y 22 años 1:06:00 Cuentos de borracheras malditas 1:13:40 Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta ocasión conversamos sobre la etapa de p*tería en la vida de las personas. Además, conversamos con el público de Valencia sobre el mercado actual de la soltería y les contamos cómo fue realmente nuestra experiencia yendo a Las Vegas.  Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro  3:54 La verdadera historia del anillo de Chris 5:44 Nuestro viaje a Las Vegas 12:50 Lo más borracho que hemos visto a Daniel 16:40 Chris y Nacho corriendo por Las Vegas 19:11 Se acabó la p*tería 26:15 El ChatGPT de Nacho es argentina 28:00 Las consecuencias reales de las ETS 34:50 ¿Se puede beber responsablemente? 38:41 ¿Qué se hace hoy en día en una discoteca? 41:50 El novio extranjero 47:20 El mercado de la soltería está complicado 50:47 Revisamos el perfil de app de citas de alguien del público 58:00 La última época de p*tería de Chris 1:03:00 El amor a primera vista 1:06:30 La discoteca swinger en Las Vegas 1:11:06 Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta ocasión hablamos con la gente de Tenerife sobre cuáles son los secretos del cuerpo que tenemos que revelar a la hora de estar con una pareja. Además hablamos sobre el rumor de que Trump y Bill Clinton tuvieron un encuentro.  Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta ocasión hablamos de cómo lidiar con una oferta laboral insultante a partir de la premisa de "Decidido", el primer cortometraje de Charlie Nelson. Además, conversamos de la teoría de Leo sobre perseguir tu sueño y la profesionalización de los hobbies. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro  2:33 Tenemos más episodios que las series más largas del mundo 4:05 Las micronovelas de 8 minutos para formato vertical 5:58 El primer cortometraje de Charlie Nelson, "Decidido" 11:10 La teoría de Leo sobre perseguir tu sueño 17:21 El mundo maldito del freelance 20:12 ¿Cuánto cobran los influencers en sus campañas? 23:00 Las ofertas laborales más indignantes 26:28 La nacionalidad que menos se baña en Latinoamérica 27:04 La moda de intervenirse las areolas 29:30 Justin Bieber empezó a hacer streams 31:20 ¿El trabajo no está hecho para disfrutarlo? 33:00 Profesionalizar tu hobby 41:15 Aprender a dosificar tu hobby para disfrutarlo 44:45 ¿Cómo lidiar con una oferta laboral insultante? Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta ocasión hablamos de que el rap, por primera vez en 35 años, no está en el top de Billboard y debatimos si volvió a ser underground. Además, conversamos de la lesión de la espalda de Chris y la mejor manera de encontrar artistas nuevos. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro 1:12 El documental de Juan Gabriel   4:43 Las voces más impresionantes de la historia 5:42 Chris se lesionó la espalda montando un mueble 9:05 Pusieron unas arquerias en los baños del aeropuerto 14:00 Daniel no promociona sus cosas 18:35 La muerte del rap  27:50 ¿El rap volvió a ser undergrownd? 32:10 La muerte de los terceros lugares musicales 34:40 ¿La gente ya no escucha discos? 38:00 El método Chris Andrade para descubrir artistas nuevos 42:00 El reggaeton tomó el lugar del rap  44:07 Música de fondo punto com 48:04 Los mejores artistas argentinos 52:00 Hoy la música se diluye demasiado rápido 56:22 Polémica en el miss universo Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show, I am talking with Priya,We will talk about her career and her ideas.Priya became CEO of Meru Data in 2017,She works in privacy, security, AI, and everything in between!

This Healing Soundbath and Guided Mount Meru Yoga Nidra Meditation in the Tantric Balinese Tradition was recorded at Treetop Yoga Studio in Gloucester, MA, on September 2, 2025, by Melissa Shubha Abbott after a Gentle and Restorative Yoga Class. Listen in a quiet place, preferably with headphones.Mt. Meru (Sanskrit: मेरु), also known as Sineru or Mahameru, is a revered cosmological mountain in Hindu tradition. It is depicted as having five peaks and is regarded as the central axis of all physical, metaphysical, and spiritual realms. This meditation and healing soundbath experience guides you through the subtle realms of Mt. Meru on a mystical and enchanting journey. Melissa Shubha Abbott is an Author, Practitioner, yoga and meditation instructor, and E-RYT 500 in the North Boston, USA area. She has over 40 years of experience in yoga and meditation, initiated by an Indian Guru, Gurumayi Chidvilasananda, and studied with many great teachers of the 20th Century. She combines ancient wisdom with modern insights, making her teachings accessible and relevant to today's world. Her compassionate and nurturing approach creates a safe space for individuals to explore their inner landscapes and cultivate a deeper connection with themselves. SHe has written several books available on Amazon, Etsy, and several other publishing platforms. Author Website: http://melissashubhaabbott.com Get full access to The Radiant Paths at melissashubhaabbott.substack.com/subscribe

- block releases proto mining open source and modular mining rig https://proto.xyz - treasury secretary scott bessent says SBR is around 125k btc, does not intend to buy more, will focus on confiscation https://x.com/TFTC21/status/1956013601741005172 - US Producer Prices Rise by Most in Three Years on Services https://archive.is/xzohV - Polymarket: Fed decision in September? https://polymarket.com/event/fed-decision-in-september - Bolivia | Banks Limit Withdrawals as Digital Asset Usage and Inflation Climb In Bolivia, where annual inflation has reached 25% and banks have been limiting withdrawal of US dollars to $100 a week, Bloomberg reports that Bolivians are turning to Bitcoin and digital assets as alternatives to the boliviano. “I'm not the only one using Bitcoin,” Christopher Salas, a coffee vendor in La Paz, said. “There's a barbershop over there and a gym that also accepts satoshis.” For Salas, Bitcoin is both a hedge and a protest: “a way to preserve the value of my savings, but also a way to go against the system, against bureaucracy.” Bolivia's hybrid authoritarian regime lifted a decade-long ban on digital assets in 2024. Since then, the volume of digital asset payments has grown more than fivefold to nearly $300 million in the first half of 2025. The University of San Andres allegedly pays its international faculty in Bitcoin. Carlos Neira, co-founder of Colombian wallet provider Meru, reports a staggering 6,600% increase in Bolivian users since the ban was lifted. FinancialFreedomReport.org - Founder of SimpleX on why he is not implementing MLS https://www.poberezkin.com/posts/2025-08-12-mls-the-naked-king-of-end-to-end-encryption.html - Signal boss: ‘disturbing' laws show the UK doesn't understand tech https://archive.is/BtZD0 - Location tracking based on photos https://archive.is/YjaYy + https://x.com/heinenbros/status/1941943605343785219 - American Hodl vlogs on nostr https://primal.net/e/nevent1qqs9gs5rrya4f3zql67yzemwmkehm96d7cxwakypjelp4xayqa36a2ctlx4zp 0:00 - Intro 2:35 - Block Rig 14:46 - Monero attacks 23:24 - Bessent's stealing your coins 27:29 - PPI 32:50 - Polymarket fed decision 36:53 - HRF Story of the Week 52:09 - Poberezkin MLS blog 56:14 - Ark mainnet 1:00:40 - Signal boss calls out UK 1:01:57 - AI Surveillance 1:06:46 - HODL v-logging on Nostr 1:10:46 - Boosts 1:17:11 - Stoneridge Shoutout to our sponsors: Coinkite https://coinkite.com/ Bitkey https://bitkey.world/ Stakwork https://stakwork.ai/ Follow Marty Bent: Twitter https://twitter.com/martybent Nostr https://primal.net/marty Newsletter https://tftc.io/martys-bent/ Podcast https://tftc.io/podcasts/ Follow Odell: Nostr https://primal.net/odell Newsletter https://discreetlog.com/ Podcast https://citadeldispatch.com/

Proč meruňky mrznou, i když jsou prázdninové ovoce? A co mají broskve společného s Velkou Moravou? Užijte si s naším bohemistou letní putování za ovocem a jazykem.

George and Joy Adamson lived for lions. After raising a cub they named Elsa and telling the world about it, they were catapulted into the center of conservation and controversy. Their methods were questioned, but their love for the wild was not. While they were both murdered, their legacy remains alive in Africa and beyond. Grab some Merch! Listen to Watch Her Cook on Apple and Spotify! Follow us on Instagram Sources: Documentary: Elsa's Legacy: The Born Free Story by PBS Books:  Tropical Nature: Colonial and Post-Colonial Conservation in Africa and Asia, Born Free: A Lioness of Two Worlds by Joy Adamson Websites: Born Free Foundation, Global Alliance of National Parks Articles: New York Times, Daily Nation, The Guardian, The Conscious Explorer, The Times For a full list of our sources, visit npadpodcast.com/episodes For the latest NPAD updates, group travel details, merch and more, follow us on npadpodcast.com and our socials at: Instagram: @nationalparkafterdark TikTok: @nationalparkafterdark Support the show by becoming an Outsider and receive ad free listening, bonus content and more on Patreon or Apple Podcasts. Want to see our faces? Catch full episodes on our YouTube Page! Thank you to the week's partners! IQBAR: Text PARK to 64000 to get 20% off all IQBAR products and free shipping. iRestore: Reverse hair loss with @iRestorelaser and unlock HUGE savings on the iRestore Elite with the code NPAD at https://www.irestore.com/NPAD! Hello Fresh: Use our link to get up to 10 FREE meals and a free item for life. Pagagen: For an extra 25% off your order and a special gift, head to Pacagen.com/NPAD.

Hii leo jaridani tunaangazia msaada wa kibinadamu katika ukanda wa Gaza, na mradi wa kutengeneza barabara katika kaunti ya Meru nchini Kenya. Makala tunaangazia simulizi ya mkurugenzi na mwanzilishi wa filamu iitwayo FURU, na mashinani tunakwenda Tanzania.Wafanyakazi wa misaada wa Umoja wa Mataifa leo wamesema kwamba bado wanangoja kibali kutoka kwa Israel ili kusambaza msaada wa kuokoa maisha ulioruhusiwa kuingia Gaza mwanzoni mwa wiki ambapo  malori matano yalifanikiwa kuingia baada ya vikwazo kwa wiki 11.Nchini Kenya, katika kaunti ya Meru hatua rahisi iliyochukuliwa inaleta mabadiliko makubwa na dhahiri kwani maeneo ambako awali barabara zilikuwa hazipitiki na hakuna mawasiliano, ubunifu wa kijapani umerejesha matumaini.Katika makala wakati ulimwengu ukiendelea kupaza sauti dhidi ya vitendo vya ukatili wa kijinsia, tunaelekea nchini Mali, ambako Fatou Cissé, mkurugenzi wa filamu na mwanzilishi wa filamu iitwayo FURU, anatumia sanaa kuangazia suala zito la ndoa za kulazimishwa.Na mashinani, fursa ni yake Ruth Nkurlu, Mtaalamu wa lishe kutoka Shirika la Umoja wa Mataifa la kuhudumia watoto, UNICEF Tanzania, ambaye anatoa mafunzo ya lishe bora kwa watoto Mkoani Njombe kwa ajili ya kupunguza udumavu wakati wa ukuaji wa mtoto.Mwenyeji wako ni Anold Kayanda, karibu!

Nchini Kenya, katika kaunti ya Meru hatua rahisi iliyochukuliwa inaleta mabadiliko makubwa na dhahiri kwani maeneo ambako awali barabara zilikuwa hazipitiki na hakuna mawasiliano, ubunifu wa kijapani umerejesha matumaini. Kulikoni? Assumpta Massoi anasimulia kupitia video ya Benki ya Dunia.

Těsto je zvláčněné meruňkovým sirupem, který moučníku dodá šťavnatost. Kombinace domácích sytě oranžových meruněk a kakaového těsta je výborná. Recept je jednoduchý a rychlý. Pekla Andrea Šulcová z Perné.

Těsto je zvláčněné meruňkovým sirupem, který moučníku dodá šťavnatost. Kombinace domácích sytě oranžových meruněk a kakaového těsta je výborná. Recept je jednoduchý a rychlý. Pekla Andrea Šulcová z Perné.

Here we are on the last day , the one. On the last day to the Apex, the summit of Mt. Meru, the highest point of the Elevated One. This is a summary of the last 90-Day Countdown in the season of Growth. From A to G. From Apex to Growth. Take some time, have a cup of tea, coffee, or milkshake. Sit and let's have a friendly conversation of life, love, and learning through this journey. Apex = Ascension + Adaptability. Beautiful = Balance + Bit-by-Bit. Cost = CPA + Calculation. Deliberate = Discipline + Devine Design. Fire Flame = Faculties + Faith/Feels. Growth = taking the trail mix and hydration to the process and progress. Thank you for all of you!

In the difficult approach to the climax to the summit of Mt.Meru a in the 90-Days journey of the season of growth, we have come near to the womb of the void. In this episode, we Foretell or Four telling of the numerology of “four” as luck, chance, or individual's energies of karma or the action of that can change the course of our destiny. Kali is unpredictable, unexpected, unknowing, unwilling void that will create and destroy all things. In the Kali Yuga, we have to go through the death and destruction to get to the peak of the Golden Ages. This is called growing pains. As the sleeping phoenix awakens, no human experience can explain the consciousness shift as a whole until the individual self is fully aware his self-autonomy and her self-authority in making wise decisions. The forecasting of how the planet Uranus play in the evolutionary of disseminations of the soul discovery in bite size serving of the ‘Golden Nuggets” in the last 86 days from the base of the mountain to the peaks and valleys on this journey. The Cosmic Significance of our self- understanding is learning how to actually be self-realized over a thousand ways we can experience through the GPS(God Planning System) of inner process and outer process that allowed us to perceive the views to make appropriate decisions that are not wasteful of our divine and defined energies that are build in our bodies. You can have the Four-sight to see near and far. Lean to have the sight to build stamina to have a wealth of wisdom of insight and deep sightings of what about to come in the shift of directions and dimensions. Bon-voyage!

Jonathan Retseck founded RXR Sports to work with athletes, explorers and storytellers in outdoor brands. It didn't take long before RXR amassed what is arguably the dream team of athletes under management. Alex Honnold, Jimmy Chin, Rich Roll and many more are part of their stacked roster of talent. But the story goes well beyond the transactional nature of sponsorship - what RXR does to build deep partnerships with intention has led to some incredible media output, the most well known being films like Free Solo and Meru. In this unfiltered conversation with Jonathan, we talk about the founding of the agency and the challenges of maintaining a roster as heavy as theirs. Show Notes: Jonathan Retseck: https://www.linkedin.com/in/jonathanretseck/ RXR Sports: https://www.rxrsports.com/ Jimmy Chin: https://www.instagram.com/jimmychin/ Meru (Film): https://www.merufilm.com/ Free Solo (Film): https://films.nationalgeographic.com/free-solo Kate Courtney: https://www.instagram.com/kateplusfate She Sends Racing: https://www.shesends.it/ RXR Speakers: https://www.rxrsports.com/live Voicing Change Media: https://www.voicingchange.media/ BPC: Brand, Product, Content Shane Parrish - The Knowledge Project: https://www.youtube.com/@tkppodcast Farnum Street: https://fs.blog/newsletter/ Clear Thinking (Book): https://fs.blog/clear/ Small Brand Mentality (Channel): https://smallbrandmentality.substack.com/ Join us on LinkedIn: https://www.linkedin.com/company/second-nature-media Meet us on Slack: https://www.launchpass.com/second-nature Follow us on Instagram: https://www.instagram.com/secondnature.media Subscribe to our newsletter: https://www.secondnature.media Subscribe to the YouTube channel: https://www.youtube.com/@secondnaturemedia

In this episode, we welcome Jimmy Chin. Jimmy is an inspirational mountain climber, award-winning photographer, and Oscar-winning filmmaker with projects including Meru, Free Solo, The Rescue, Return to Space, Wild Life, Nyad, and Endurance. He is also a longtime Canon Explorer of Light. In our conversation, we hear about his upbringing in Minnesota, path into photography, adventures in filmmaking, and all about his first foray into narrative work with Nyad. In addition, Jimmy talks about what keeps him inspired — and other thoughts on a life on the edge of adventure.This episode was recorded live at Canon HQ in Melville, NY.“The Making Of” is presented by AJA:How Cromorama solves HDR production challenges with AJA ColorBoxCromorama is transforming HDR workflows for live production across the globe, using AJA ColorBox and its integrated ORION-CONVERT pipeline to power SDR/HDR transforms, quality control checks, and more for high-stakes productions like the UEFA EURO 2024 Championship. Find out how in this interview with Cromorama CEO and CTO Pablo Garcia hereExplore the OWC Jellyfish Nomad:Discover how the OWC Jellyfish Nomad turned a desolate location in the Utah Salt Flats into a fully equipped, mobile production studio. This compact, powerful device allows video professionals to manage, share, and collaborate on high-resolution projects in remote environments. Click through to see how you can streamline your workflow, no matter where your next shoot takes you! Read hereIntroducing Atomos Sun Dragon: A Rope Light Made for Filmmakers. The world's first full sun-spectrum rope light, Sun Dragon offers creatives more options. It's uniquely flexible, so it fits into places other lights can't. You can wrap it around objects for creative highlighting and special, colour-controllable effects including dramatic underlighting. The world's first sun spectrum, HDR, waterproof, DMX controlled, 2000 lumen 5-color LED, mount-anywhere, lightweight flexible production and cinema rope lightLearn more hereNetflix Feature “Let Go” Showcases Igelkott Studios' Masterful Visual FXNetflix's Let Go (2024) tells a heartfelt story with beautifully crafted visuals. Igelkott Studios contributed to the car and airplane sequences using advanced In-Camera Visual FX. Led by Eric Hasso, we focus on authenticity and innovation. Watch Let Go on Netflix and learn more at Igelkott Studios.Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more herePodcast Rewind:Feb 2025 - Ep. 68…“The Making Of” is published by Michael Valinsky.To advertise your products or services to 125K filmmakers, video pros, TV, broadcast & live event production pros reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Al and Kev talk about Hello Kitty Island Adventure Timings 00:00:00: Theme Tune 00:00:30: Intro 00:01:30: What Have We Been Up To 00:22:51: Game News 00:36:43: Hello Kitty Island Adventure 01:16:05: Outro Links Ratopia 1.0 Grimoire Groves Release Sugardew Island Release The Ranchers Police District My Time at Sandrock Chibi Figurines 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. (0:00:35) Al: My name is Al. (0:00:37) Kev: My name is Kevin, here with the vengeance. (0:00:40) Al: You sounded a little bit unsure about your name there. (0:00:42) Al: And we’re here today to talk about Cosco Games. (0:00:46) Kev: Woo! (0:00:48) Kev: I can’t get the wolf pack thing out of my head now. (0:00:51) Kev: They’re listening to last two weeks. (0:00:56) Al: This episode, we are going to talk about Hello Kitty Island. (0:01:00) Al: Adventure. Oh, but you’ve already talked about that. I hear you say, “Well, (0:01:05) Al: we’re going for the second harvest of it, because it has finally come out on Steam and Switch.” (0:01:08) Kev: Second Harvest. (0:01:14) Kev: Switch and other things, yes. (0:01:17) Al: You can tell what Kevin cares about. So, we’re going to talk about that. (0:01:19) Kev: Yeah, haha, yeah. (0:01:24) Kev: I don’t have a Steam Deck, so, well. (0:01:26) Al: Fair. Before that, we have some news. (0:01:31) Al: But first of all, Kevin, what have you been up to? (0:01:33) Kev: Oh, hello everyone. I have been up to work. I barely have, it’s been a lot done working. (0:01:42) Kev: I’m in one of those periods where I’m doing a lot of daily sort of stuff, comfort games. (0:01:51) Kev: And then the Zone Zero continues to be good. Marvel Snap, I’m playing Marvel Snap right now. (0:01:56) Kev: I know you’re not, I like to follow the channel, I know you’re not. That’s fine. (0:01:58) Al: I am not. No, no. I took a break from it because it was basically consuming me. (0:02:03) Kev: It’s consumed me. But I think it’s in a decent place, so I’m okay being consumed by Marvel Snap. (0:02:12) Kev: We got the new season based stuff, the Brave New World, the Red Hulk, and the new Captain America, all that good stuff. (0:02:21) Kev: Um… I… (0:02:22) Al: I have been occasionally looking at the, um, the new cards and stuff like that, but I haven’t (0:02:30) Al: looked at the new, the new season stuff. Is there anything that excites you? (0:02:34) Kev: Yeah, they’re interesting. Funnily enough, the one that excites me most is not related to the (0:02:44) Kev: movie. It’s a character called Diamondback. Diamondback is a type of rattlesnake, if you’re (0:02:50) Kev: not familiar. She’s part of a group called the Serpent Society. I can’t remember exactly what, (0:02:56) Kev: but she’s got one of those effects that lowers everyone else’s power on your head. (0:03:04) Kev: I think it doubles the amount lowered or something like that, so I’m excited by that. (0:03:10) Kev: Otherwise, the other stuff’s fine. None of it’s crazy game breaking. I’m more excited by (0:03:15) Al: Oh, is next month is it Daredevil stuff? No. Okay. (0:03:16) Kev: some stuff in the data points for next month, but yeah, the season’s okay. Next month is going to (0:03:24) Kev: be, oh, that’d be a good one, but no. They’re going to get the name of it. Basically, like ancient (0:03:34) Kev: like BC or whatever, Avengers BC, something like that. I don’t remember. Yeah, they have (0:03:40) Kev: some interesting effects. Otherwise, Marvel Snap is good. I can see my visual customizations and (0:03:53) Kev: stuff all during the whole match, not at just the beginning. (0:03:53) Al: All right, all right, all right, calm down, calm down. You just want to mock the Pokemon (0:04:04) Kev: That’s it. (0:04:04) Al: fans again. (0:04:06) Kev: Look, I had no problem with Pocket. (0:04:09) Kev: They’re the ones who are kind of shooting themselves (0:04:13) Kev: in the foot here. (0:04:14) Al: Oh, yeah, we don’t need to we talked about that so many times. I don’t think we need to talk about it again. (0:04:20) Kev: Yeah, I know. (0:04:21) Kev: I just– I feel bad for you guys, honestly. (0:04:25) Kev: But yeah, Marvel snaps. (0:04:26) Al: I mean, I don’t feel bad for me. I don’t particularly care because I’m just collecting, right? Yeah, I do some battles, but my main point is collecting, and that is what I’m doing, whereas with Marvel Snap, it’s much more a battle-focused game because there are fewer cards. (0:04:27) Kev: Good stuff. (0:04:40) Kev: Yeah, yeah, you know what, you’re right. If you’re just collecting pocket is still probably all right. Well, I’d say that but the trading I guess is cool as collecting related so (0:04:46) Al: It’s great. (0:04:52) Al: Look, it’s less bad than it was, but it’s still bad. (0:04:59) Kev: Oh, I get you I (0:05:02) Al: I like I will say I like how it’s actually implemented. (0:05:05) Al: The currencies are stupid. (0:05:06) Al: The restrictions are stupid, but I like the feature. (0:05:08) Kev: Yeah (0:05:08) Al: How is actually implemented? (0:05:10) Kev: Okay, well, there you go. I’m trying to clear that bar (0:05:17) Kev: But yeah, let’s see other than that (0:05:20) Kev: obviously (0:05:21) Kev: Super Mario Odyssey we were playing over that at triple-r. So I’ve been playing some of that too. That’s good stuff (0:05:29) Kev: What do I have to say? It’s super hard to see it’s a good game (0:05:34) Kev: And (0:05:35) Kev: Honestly this week it’s it’s largely been Hello Kitty because I’ve been trying to climb that in cuz (0:05:41) Kev: We did not have a lot of time (0:05:42) Kev: It was like what a week before recording roughly a little more than a week when it came out (0:05:46) Kev: So I got it and I’m rushing to get it to get through it (0:05:52) Kev: But yeah, and so you’ll hear my thoughts later. What about you? Well, what’s going on over there? (0:05:57) Al: I have, I mean, I wasn’t planning on talking about it, but yeah, I’ve been playing pocket (0:06:02) Al: as usual, got the new set, got most of the new set. So I’m continuing for another few (0:06:07) Al: weeks of getting no cards most days. (0:06:10) Kev: I will say I will say the Cynthia accessories packs that came out were (0:06:17) Kev: pretty good that was good stuff in fact it’s why don’t they make that real like (0:06:18) Al: - Yeah, yeah, yeah, yeah. (0:06:25) Al: I will only buy the stuff that is bundled with gold. (0:06:30) Al: I’m not gonna spend gold on those things (0:06:32) Al: because the problem there is like, (0:06:34) Al: I could use those gold cards (0:06:36) Al: rather than the accessories, right? (0:06:38) Kev: Mmm, that’s an excellent. (0:06:38) Al: That’s the problem. (0:06:39) Al: Whereas I bought both of the ones, (0:06:41) Al: so there was one with the first set (0:06:44) Al: and there’s one with the second set, (0:06:45) Al: which is like you buy it, and you get gold and cosmes. (0:06:49) Al: It’s like I will do that, because then I’m getting the gold as well. (0:06:52) Al: But yeah, I am definitely my fault (0:06:57) Al: and my problem that I’m getting the set so quickly, (0:07:02) Al: because what I’m doing, obviously, is I’m saving up my glasses (0:07:06) Al: and I’m spending some gold and I’m opening like 50 packs in the first couple of days. (0:07:11) Al: So obviously, I’m going to get most of the set when I do that. (0:07:14) Al: But it makes for a fun couple of days, at least. (0:07:19) Al: What else am I doing? (0:07:20) Al: I am continuing to play Harvest Moon Home, Sweet Home. (0:07:23) Al: So that is a thing that I’m still continuing. (0:07:26) Kev: Okay, okay. (0:07:28) Al: I might have more to say about that in a future episode, we’ll see. (0:07:32) Kev: I’m so, you know, I’m impressed you’re still playing I will say that that alone is a testament to the quality of the game (0:07:40) Kev: well relative to other (0:07:42) Kev: Natsume titles. (0:07:42) Al: Yeah, yeah. It’s yeah, okay, I’m not gonna say anything about it just now, but yeah, I’m I feel like I’m at I am actively enjoying myself. I think that’s as far as I’ll go at this point. I don’t think so. I think it’s just that the game gets better as you play it more, right? Because you unlock better tools and stuff and that makes some of the annoyances become less annoying, you know. (0:07:55) Kev: Is it Stockholm Syndrome? (0:08:10) Kev: Okay, that’s that is interesting (0:08:13) Al: » The other thing I’m playing just now is Sugardew Island because we’ll talk about that in the news. (0:08:18) Kev: Ah (0:08:19) Kev: You’re going for it. Oh, you need to what you need to get re-legend on there go for the hat trick (0:08:24) Al: But let’s talk about that in the news, but yeah, that is another thing I’ve been playing (0:08:28) Al: this week. (0:08:30) Al: And not a game, but Kevin, I have watched The Gifted. (0:08:34) Al: Have you ever seen The Gifted? (0:08:35) Kev: they gifted on no what is (0:08:37) Al: So this was one of the like 2017, 2018, 2019 X-Men series. (0:08:46) Kev: oh man oh this is one of those weird ones that okay does it do they even oh it has an x over the (0:08:54) Kev: I okay so they are using the x but oh this isn’t the new mutants this is okay okay (0:08:59) Al: No, no, no. So they had Legion and they had the Gifted. They were both around the same (0:09:06) Al: sort of time and Legion was obviously about Legion. And so that was very weird because, (0:09:12) Al: well, his powers are weird and his not powers are also weird. So that was definitely a weird (0:09:20) Al: show to watch, but I really liked that. The Gifted is much more kind of standard, I guess. (0:09:30) Al: The Arrowverse sort of stuff, but obviously Marvel, X-Men. And it’s much more like a group (0:09:33) Kev: Okay, ah, okay (0:09:38) Al: of mutants. It’s a group of mutants fighting against humans who are trying to kill them (0:09:45) Al: and the government is trying to kill them and blah, blah, blah, blah. And the funny (0:09:52) Al: thing about it is, it is probably the thing I’ve seen that has the most references to (0:09:57) Al: the X-Men without having a single X-Men. (0:09:59) Al: It feels like every episode they mention the X-Men. (0:10:05) Al: The starting point behind the series is the X-Men disappeared a few years ago. (0:10:11) Al: And then there was a horrible disaster in DC, (0:10:16) Al: where some unidentified mutant has some unidentified accident (0:10:22) Al: that means there’s basically a massive explosion and it kills a bunch of people. (0:10:26) Al: and so since then they set up this new (0:10:29) Al: government task force called Sentinel Services, of course, they have to use the name Sentinel. (0:10:34) Kev: Of course (0:10:36) Al: And Trask is mentioned, you know, the usual blah, blah, blah, blah, blah. (0:10:37) Kev: Do you get it do you get it out? (0:10:43) Al: And they’re set up to like, they start off by being like, oh, we are containing criminal (0:10:51) Al: mutants. But of course, it never stops at that, blah, blah, blah, blah, blah, blah. You know (0:10:52) Kev: uh-huh (0:10:55) Kev: what (0:10:57) Al: exactly where that loops, right? (0:10:59) Al: So which by the by the way, it feels very painful watching this in 2025, just going (0:10:59) Kev: what (0:11:00) Kev: oh boy do I I (0:11:03) Kev: I see that (0:11:04) Kev: for IRL (0:11:10) Al: to just going to put that out there, you know, with the talk of like, you know, camps to (0:11:11) Kev: Ugh. (0:11:13) Kev: Ugh. (0:11:15) Kev: Ugh. (0:11:17) Kev: Ugh. (0:11:18) Al: put them in and, you know, let’s say, I kind of wish I’d watched it last year rather than (0:11:19) Kev: Aww, sick. (0:11:24) Al: this year, but… (0:11:25) Kev: This sounds like a fun segment. (0:11:28) Kev: I will describe the thing. (0:11:29) Al: So, the kind of main characters are, I don’t know if you’ve, oh, who are they called? (0:11:30) Kev: Is this a scene from “The Gifted”? (0:11:32) Kev: Or Trump’s first two weeks in office? (0:11:35) Kev: It would be both! (0:11:48) Al: Because I had not heard of them before, the Strucker Twins, that’s what it is. Do you know (0:11:53) Al: the Strucker Twins? (0:11:54) Kev: Okay, so I pulled up the wiki cuz I’m curious (0:11:57) Kev: This no, and I’m curious because is that any relation to Baron Von Strucker from Hydra? (0:11:59) Al: So, yes, kind of. So, what I’ll say is, in the comics, yes, but in the show, not really. (0:12:12) Kev: Okay, sure, okay (0:12:14) Al: So as far as I can see, in the comics, there are the Strucker Twins who are children of (0:12:24) Kev: - Yeah, I know the stroke of trains, twins. (0:12:24) Al: - Baron struck her. (0:12:25) Kev: I love Wanda and Pietro. (0:12:29) Al: - Yeah, well, yeah, there is a lot of similarities (0:12:32) Al: between these things. (0:12:33) Al: They are never mentioned, (0:12:36) Al: like Baron struck her is never mentioned in the series. (0:12:41) Al: So they could still be, (0:12:42) Kev: That’s good stuff (0:12:42) Al: so it’s not focusing on the two twins (0:12:46) Al: that are in the comics. (0:12:47) Al: It’s like they are great grandchildren (0:12:48) Kev: Yeah (0:12:52) Al: who are not twins either. (0:12:54) Al: They’re just brother and sister a few years apart, (0:12:56) Al: but they have the same powers (0:12:58) Al: as. (0:13:00) Al: The struggle twins did and there’s a whole thing around like their father was working for Sentinel Services and (0:13:10) Al: but it turns out he was actually secretly a mutant. He just didn’t know it because his father had cured the X gene in him blah, blah, blah, blah, blah, like lots of complicated things around that. (0:13:23) Al: It was fine. I enjoyed it. It wasn’t bad by any stretch of the imagination. (0:13:29) Al: But it wasn’t like I think Legion was a very good show and this was a fine show. It was fine. I enjoyed it. I’m glad I watched it. I’m a little bit annoyed because they cancelled it after season two but season two ended on a cliffhanger. (0:13:34) Kev: Okay, ah. (0:13:43) Kev: Oh, sick! That’s the best! (0:13:46) Al: And they did have a lot of different mutants with a lot of different powers, some of which you would recognize like they had Polaris who’s probably like the I guess the most well known one they had in the series. (0:13:56) Al: and they never mention my… (0:13:56) Kev: how crazy (0:13:59) Al: But. So they it’s very clear that they’re talking about him, but they never use his name, right? (0:14:00) Kev: I was about to say how crazy I imagine they didn’t and how crazy it is that we (0:14:04) Kev: got polaris but not (0:14:12) Al: So she constantly talks about her birth father and they talk about how, oh, she is the like, you know, (0:14:13) Kev: Right, right? (0:14:18) Al: she’s mutant royalty and all these things. (0:14:21) Al: Like, it’s so clear. (0:14:22) Al: It’s just like, did you not have the rights to the name? (0:14:26) Al: Like, that’s basically what it feels like, right? (0:14:27) Kev: Ohh, that’s great! I love that. (0:14:29) Al: Just say the name. Oh, my word. (0:14:31) Al: Everybody knows who you’re talking about. (0:14:36) Kev: Ohh, that’s so good. (0:14:39) Al: So, yeah, it’s I enjoyed it. (0:14:41) Al: It was fun. (0:14:43) Al: Yeah, I’ve kind of now I’ve not gone back to like the kind of like 90s and previous Marvel live action shows, but like everything post millennium. (0:14:56) Al: I’ve I’ve now watched all of them. (0:14:56) Kev: why not oh oh oh I thought you’re your 10 on it oh sure (0:14:59) Al: I’ve just not got there yet. (0:15:00) Al: Like, I’m obviously going to watch, you know, I’m obviously going. (0:15:04) Al: No, I just like you can’t watch everything all at the same time, right? (0:15:07) Al: You just have to get things slowly. (0:15:09) Al: So, like, obviously, I’m going to watch, you know, the Incredible Hulk. (0:15:12) Al: Lou Ferrigno’s Incredible Hulk. (0:15:14) Al: And I’ll see what I’ll think if there’s any others I want to watch. (0:15:17) Al: But like I’ve watched all the big live action Marvel ones, except for that Hulk show, I think. (0:15:26) Kev: Did you watch all of Agents of S.H.I.E.L.? (0:15:30) Al: Who knows if I’ll end up watching the like was it the 90s? (0:15:33) Al: There was a 90s Captain America, I think, and stuff like that. (0:15:36) Al: Who knows if I’ll get to watch them or not. (0:15:37) Kev: - Yeah. (0:15:39) Al: But yeah, that’s fun. (0:15:41) Al: I might go. (0:15:42) Al: I’ll probably watch a bunch of animated stuff first. (0:15:48) Kev: Yeah, you’re probably better off and watch that Iron Man with the mullet (0:15:48) Al: But I think I might go into. (0:15:53) Al: Well, I probably will end up going with some DC stuff first, right? (0:15:59) Al: 90s animated Batman and stuff like that. (0:16:02) Kev: wait have you never seen or wow yeah yeah of course right like i (0:16:03) Al: I haven’t. (0:16:05) Al: I mean, I’ve seen clips here and there, but I’ve not seen full episodes. (0:16:09) Al: Yeah. (0:16:09) Kev: assume you’ve seen but wow oh man you’re in a tree forget all (0:16:14) Kev: everything else like you’ve ever listed wow (0:16:16) Al: So I’ve got that to watch. (0:16:17) Kev: batman (0:16:18) Al: And I think there’s one really good Justice League one, (0:16:21) Al: I think, isn’t there, that people always talk about. (0:16:23) Kev: yes so yeah so that’s the dcau the dc animated universe that started off with (0:16:26) Al: Yeah. (0:16:28) Kev: the 90s batman and they just kind of went off there (0:16:30) Al: Yeah. (0:16:32) Kev: because it’s all in the same cannon (0:16:32) Al: Yeah, I’ve got a list from our mutual friend, Alex. (0:16:38) Al: He sent me a spreadsheet with basically all of the stuff (0:16:42) Al: that he cares about, and like a column that says, (0:16:45) Al: whether this is a must watch. (0:16:47) Al: Should watch or you can skip it sort of thing. (0:16:50) Al: So I will probably start watching those. (0:16:53) Kev: Oh, man, I’m excited for you. I can’t wait to hear your thoughts. (0:16:56) Al: Well, I was surprised with how few episodes there are (0:17:00) Al: in the original Batman, the animated series from the 90s. (0:17:03) Al: Like there aren’t actually that many. (0:17:03) Kev: Yeah, it’s well, are you counting? (0:17:05) Al: 85 episodes. (0:17:06) Al: It’s four seasons. (0:17:09) Al: Well, okay. (0:17:10) Al: Oh, yes, I remember this one. (0:17:11) Al: This was weird because it’s like listed in my app, my TV tracking app. (0:17:15) Al: season one has six (0:17:16) Al: like 60 episodes. Two and three have 10 each and then four has five. So it looks (0:17:22) Al: like they got really confused as to what seasons were. (0:17:26) Kev: That’s, that is very odd. (0:17:29) Al: It’s one of those ones that’s going to be super fun to try and watch everything because (0:17:33) Al: they’re in weird orders and they can’t decide what like there’ll be three specific episodes (0:17:39) Al: that are only on one random service. It’s like I’ve been trying to watch for a couple (0:17:44) Al: For years now, I’ve been trying to finish watching. (0:17:46) Al: So I’ve done all of seasons one to five, except three specific episodes from season (0:17:48) Kev: Ha ha ha, good luck with that! (0:17:57) Al: five. No, they’re not the last three episodes. They’re episodes 51 and 52 of 54. And I’ve (0:18:06) Al: also watched episode 14 of season six. Why? Who knows? (0:18:14) Al: So Netflix had seasoned. (0:18:16) Al: It’s like there are some episodes of each of those seasons on some services but like (0:18:30) Kev: Uh, probably I don’t know that thing’s eternal. It is wild to think. (0:18:40) Al: five episodes of season six or on one random service and then there’s like two episodes (0:18:45) Al: of Season 8, and then (0:18:47) Al: like 20 episodes of Season 7, and I know it doesn’t matter, I don’t need to watch this show in order, because this is the least, the show where like continuity matters the least, right? Because everything, it’s like the Simpsons, right? There’s very few things that actually change, right? So it doesn’t matter. But some small things matter, right? Like there was an arc of like five episodes where they had a new character. And if you randomly watched the third episode of that, you’d be like, who is this? (0:18:58) Kev: Oh, yeah. (0:19:16) Al: Random character, why are they here? But it doesn’t happen very often. And so it’s hard to predict. That’s the problem. (0:19:18) Kev: that is true (0:19:20) Kev: yeah (0:19:22) Kev: yeah you’re right (0:19:24) Kev: oh that’s, that’s incredible (0:19:24) Al: I’m (0:19:26) Kev: good times, good times (0:19:28) Kev: um (0:19:30) Kev: oh man, I’m, I’m (0:19:32) Kev: like, I think I’m honestly way (0:19:34) Kev: more excited for uh (0:19:36) Kev: uh you to go through the DC stuff (0:19:38) Kev: stuff cause the plot is so (0:19:40) Kev: higher in general, um on the small (0:19:40) Al: Yeah, I think I’ve watched all of the actually good Marvel animated stuff. (0:19:42) Kev: screen (0:19:46) Kev: Wait, did you watch our spider? (0:19:46) Al: I’ve watched… I have not, no. Is that one I need to watch? (0:19:48) Kev: Do you watch these terrors? (0:19:52) Kev: You didn’t watch? Oh my goodness! (0:19:54) Kev: Yes! (0:19:54) Al: Calm down. It’s so easy not to watch things. So which was this one? (0:19:58) Al: So Earth’s Mightiest Heroes, you say it’s called. Is that all it’s called? (0:20:00) Kev: this was yeah yeah avengers or smite’s heroes yes it was a um yes um it’s late (0:20:04) Al: Oh, it’s got Avengers in the name, right? Okay. (0:20:08) Al: the avenger’s earth’s mightiest heroes this is from (0:20:10) Al: 2010 yeah two seasons 26 episodes each 2010 to 2012 (0:20:12) Kev: yeah let’s say late 22,000 early 2010s yeah um that okay so that is probably the best (0:20:22) Kev: animated marvel project no that well okay no hold on let me uh (0:20:25) Al: oh really better than X-Men and Spider-man (0:20:29) Kev: Better than– you know what? (0:20:31) Kev: I’ll say– that might be– that’s tough to say. (0:20:35) Al: I’m going to need to post in Slack, haven’t I, and say, what are the must-watch Marvel (0:20:41) Al: animated ones, and make sure that I’ve watched all of them. (0:20:41) Kev: OK, well, I will say Earth’s Mightiest Heroes (0:20:46) Kev: is a must-watch. (0:20:48) Kev: At the very least, it is probably (0:20:50) Kev: one of the definitive pieces of Avengers– (0:20:53) Kev: no, not the– it is the definitive piece (0:20:55) Kev: of Avengers media, because it came out (0:20:56) Al: Okay, fair enough. (0:21:01) Kev: to the MCU film Avengers. (0:21:04) Al: Yeah, just in the run-up to it basically. (0:21:05) Kev: So it– yes. (0:21:09) Kev: And so it got to cover everything before, (0:21:13) Kev: like all the classic Avengers stories, (0:21:15) Kev: more or less, and the characterizations. (0:21:16) Al: It’s not it’s not in the same continuity, right? It’s not. (0:21:19) Kev: It is not, no. (0:21:21) Kev: So it is excellent, excellent, excellent. (0:21:24) Kev: And sadly, the MCU actually killed it. (0:21:27) Kev: First off, they delayed the second season by a year or two. (0:21:30) Kev: It would coincide with the release of the MCU Avengers film, more or less, and then after that, they cancelled the series to start a new series that was more MCU related or closer to that. (0:21:46) Kev: And it’s trying to shame. (0:21:48) Al: These things are so much easier to keep track of than to catch up on, right? (0:21:55) Al: People always talk, oh, there’s so much Marvel stuff now. (0:21:58) Al: But I feel like you just weren’t paying attention if you didn’t think there was (0:22:02) Al: a lot of Marvel stuff before, right? Like, there’s so many things. (0:22:03) Kev: Oh yeah, no, there’s always there’s so much Marvel stuff (0:22:08) Kev: much spectacular spider-man (0:22:10) Al: I know, but it’s on my list. (0:22:12) Kev: Okay, good cuz yeah, okay like I’d put Avengers like right up there a spectacular aired around the same time, too (0:22:21) Kev: like they’re just the definitive things for their respective series more or less like as much as I love 90s spider-man cuz it’s so (0:22:28) Kev: campy and ridiculous and ingrained into my (0:22:31) Kev: » The Spectacular Spider-Man. (0:22:33) Kev: Is the actual one you should watch because that’s the good one and actually does everything correctly. (0:22:38) Al: Okay, fair enough. (0:22:38) Kev: Yeah, but yeah, I can’t. Oh, man, you still got a lot of good stuff ahead. I’m very excited for you. (0:22:46) Al: There’s always more stuff to watch. (0:22:47) Kev: All right. (0:22:48) Al: I think that’s me. (0:22:51) Al: All right, let’s talk about some news. (0:22:53) Al: First up, we have RATOPIA, which is like a town builder. (0:23:01) Al: Farming survival game, however you want to describe it. (0:23:02) Kev: the rat topia builder, the rat village builder. (0:23:07) Al: It is going to hit 1.0 on the first of May. (0:23:11) Al: A-woo! (0:23:12) Kev: I’d I’m real for that. I’m gonna play that because I like 1.0s and this is a cool (0:23:18) Kev: I’ve always thought this is a cool one cuz it’s I mean one it’s it’s kind of that (0:23:23) Kev: side 2d (0:23:25) Kev: araria-esque (0:23:27) Kev: Gameplay, but it’s rats. So that’s that’s way more fun (0:23:30) Al: It is rats, you’re correct. Yeah, I have a feeling I’m going to play this one, but I (0:23:40) Al: don’t know how I’m going to feel about it, but I’m intrigued by it. Because you’re playing (0:23:45) Al: a specific character in this one, aren’t you? It’s not management style, which is what I (0:23:48) Kev: You it looks like it you’re playing (0:23:52) Kev: Yeah (0:23:52) Al: I really don’t like about time builders. So we’ll see. (0:23:54) Kev: Yeah (0:23:57) Kev: Yeah, yeah we will see I’m excited (0:24:01) Kev: Yeah, I like I like rodents and rodent (0:24:06) Al: Next we have Grimoire Groves, they’ve announced that they’re releasing on the 4th of March. (0:24:11) Al: I think they had a new trailer as well. (0:24:12) Kev: okay now hold on my same I’m ready to open I have to double-check I have a lot (0:24:18) Kev: of links open I forget which ones it’s (0:24:20) Al: This is a witch-based one, you know, it’s a roguelike dungeon crawler. (0:24:25) Kev: all networks you got us (0:24:29) Al: Sorry, cozy roguelike dungeon crawler with witches. (0:24:32) Kev: there we go that’s what we need (0:24:34) Al: Join the… (0:24:36) Al: I’ve been watching this one for ages. I don’t think I realized it was Roguelike. (0:24:40) Kev: I didn’t either, um, it’s, it’s, okay, look, I’m looking, are we rewatching the trailer? (0:24:49) Kev: This, yeah, okay, yeah, this is, this is a very much more cozy, pretty, cold blue lamb. (0:24:56) Kev: That’s what it really looks like. (0:24:58) Kev: Um, yeah, yeah, the art style is very fun. (0:24:58) Al: I like how the game looks, like graphics-wise, really nice. (0:25:03) Kev: It’s very colorful, psychedelic, look like it’s, it’s, it’s, it’s out there. (0:25:11) Kev: Um, I, some of the gameplay stuff looks interesting. (0:25:16) Kev: You’re casting a lot of, it’s not like, uh, of the lamb was, you know, sword, weapon, (0:25:21) Kev: game play or whatever, you’re casting a lot of stuff here. (0:25:24) Kev: Um, wow. (0:25:25) Kev: Even some of those icons for speaking, um, I’m, I’m, my interest has been piqued. (0:25:32) Al: Well that’s a good point. Is it, is it, is it roguelite like Cult of the Lamb is roguelite, (0:25:37) Al: where you have your like area that you build up and you go out on runs to get stuff? That’s (0:25:41) Kev: It sure looks like it because the farming you’re growing plants that’s advertised clearly in the trailer (0:25:43) Al: a good point. Yeah. Oh no. Is this actually going to be the second roguelite I actually like? (0:25:53) Al: Because it does the thing that I like. (0:25:54) Kev: Maybe it looks like it has a lot going for it. I’ll say that (0:25:58) Al: It doesn’t make it clear in the description exactly what the rules are. (0:26:02) Al: I’m going to have to buy this game now I’m an eye. Boo! (0:26:04) Kev: yeah (0:26:06) Kev: um (0:26:07) Kev: but hey (0:26:12) Kev: all gosh yes (0:26:14) Al: And then people can mock me for buying another rogue light. (0:26:16) Kev: there will be a demo updated demo on february seventeenth (0:26:20) Kev: if you want to try it out before you buy (0:26:22) Al: Maybe, maybe. That is what I probably should do. That is not what I tend to do. (0:26:28) Kev: It’s a good idea. (0:26:29) Kev: I’m not gonna do it. (0:26:32) Al: Uh speaking of games that I buy for some reason uh Sugajou Island have announced that they’re (0:26:40) Al: releasing on the 7th of March uh but the game is out now already for Kickstarter backers so if you (0:26:46) Al: backed it like me uh you have you should have your key by now um also the physical version is coming (0:26:54) Kev: I’ve got to say, I am impressed that a game has made it this far just by flying too close to the sun and coughing Stardew with changing the name up a little. (0:27:02) Al: I just, I hate myself every time I see the name. (0:27:07) Kev: Like, I’ll be like, I’m not even going to judge the gameplay because I’m not even, I haven’t looked at it closely enough, but this thing is going by its name alone like 90%. Let’s, let’s be quite honest. (0:27:21) Kev: Um… (0:27:22) Al: Yeah, I’m obviously going to talk about the game more in the future, not in this episode. (0:27:29) Al: It’s not top tier farming game, let’s put it that way. (0:27:32) Kev: I mean, it’s sure sure (0:27:35) Al: It’s not the absolute worst farming game I’ve played, though. (0:27:39) Kev: Sure, you know what you’re right the bar is high or very low depending on the direction (0:27:41) Al: Yeah, it has gone straight through the middle of that as meh. (0:27:50) Kev: Okay, you know is is that better or worse for it, I don’t know but (0:27:56) Al: Yeah, I’m gonna have a lot to say in the next episode probably (0:28:03) Al: But yeah, that’s that’s my initial thought is it is okay (0:28:10) Kev: there you go put that on the box (0:28:13) Al: They have already to be fair to them they have already fixed multiple thing multiple issues I had with the game (0:28:20) Al: So that is something (0:28:22) Kev: all right well you know that is uh that is like good just across the board when a developer (0:28:29) Kev: cares about uh their you know supporting and whatnot so I will say that good on them for that bit (0:28:38) Al: OK, so next we have this is interesting. (0:28:42) Al: Did you look at these links before the podcast? (0:28:44) Al: Just before we talk about this? (0:28:46) Al: OK, so just for the listeners, I’m going to try and explain what we’re looking at (0:28:51) Al: here. This is so that the game is the ranchers. (0:28:56) Al: We’ve talked about it before. (0:28:57) Al: It’s a farming game. (0:28:59) Al: It’s an open world farming game. (0:29:02) Al: What’s interesting is they’ve introduced police. (0:29:08) Al: And. (0:29:09) Kev: Aww, sick. (0:29:11) Al: I think I can describe this as they’re it basically seems like they’re turning (0:29:16) Al: this game into grand theft farm. (0:29:19) Kev: Yep, I was about to say, like, the game is called The Ranchers, but nothing on the Steam page is a ranch. (0:29:27) Al: There’s cows. What are you talking about? (0:29:34) Kev: Wait did I miss them? Oh, yeah on the cover. I see you’re right. There’s the image (0:29:34) Al: So, this is, yeah. So, they’re calling this the Ranchers Police District Update. Now don’t (0:29:45) Al: be confused. This is not like a game update. This is just like an information update. They’re (0:29:51) Al: describing this feature that’s going to be in the game, because this game isn’t out yet. (0:29:55) Al: not in Ali access. And I. (0:29:57) Al: They say I’m excited to introduce our newest feature, (0:30:01) Al: the ranchers police district, which by the way, just as a, (0:30:04) Al: just as a startup, this is what we all want is more police. (0:30:10) Al: Secondly, they say from the start, (0:30:13) Al: the ranchers has given you tons of freedom to play the game your way. (0:30:16) Al: You can stick to the rules and enjoy a calm, relaxed experience, (0:30:18) Al: or you can mix things up, maybe even try something a little daring, (0:30:22) Al: like swiping NPCs, crops, cars, cows, or chickens, (0:30:26) Al: vandalizing public. (0:30:27) Al: property or even shaking up national security for a little bit of mischief. Ultimately, (0:30:32) Al: it’s your call and you probably have your own reasons for how you play. Before, if you (0:30:37) Al: got caught, the game would hit you with a fine to teach you a lesson. Harsh and not (0:30:40) Al: very fun, especially in open world farming sim where freedom is key. Now, things feel (0:30:45) Al: a bit more like real life. Your actions have consequences. Each misdeed you commit will (0:30:50) Al: trigger a reaction from the rancher’s beliefs, giving you the freedom to deal with it your (0:30:55) Al: You can pay up, surrender, or even poo- (0:30:57) Al: things further at your own risk and potential reward. (0:31:02) Kev: Aww. (0:31:03) Al: So you can get arrested in this game, basically. (0:31:06) Kev: Yeah. (0:31:08) Kev: Yeah. (0:31:11) Al: Part of me is like, I hate it. (0:31:14) Kev: Yeah. (0:31:16) Al: And part of me is like, I actually kind of like it, (0:31:19) Al: because this is trying to do something different with farming games, (0:31:22) Al: which is such a rare thing nowadays, right? (0:31:24) Al: - Okay. (0:31:24) Kev: If that is true (0:31:25) Al: Thank you. (0:31:28) Al: What I also find really interesting is the comments on the Kickstarter. (0:31:32) Al: Can you see the Kickstarter? (0:31:33) Al: I don’t know if that’s backers only. (0:31:35) Al: Oh no, I’m not a backer. (0:31:36) Kev: let’s see here (0:31:36) Al: I’m not a backer, am I? (0:31:38) Al: Oh no, I did back it. (0:31:40) Kev: you back this all sick (0:31:42) Al: I don’t even remember backing this game. (0:31:46) Al: Oh man, I am not to be trusted with Kickstarter. (0:31:51) Al: I don’t think this is a backers only update. (0:31:54) Al: But anyway, the comments are… (0:31:57) Al: really not positive from this. One is like, “Are you sure you aren’t just trolling everyone (0:32:04) Al: with this? April 1st is quite some time away. I definitely did not want GTA.” (0:32:07) Kev: Aww yeah! (0:32:11) Al: “I was all for this game until this update. If I wanted police in the game I’m playing, (0:32:14) Al: I wouldn’t play a cosy farming sim.” Yeah, I agree, but also I don’t agree. I’m not (0:32:23) Al: Really sure. On Steam, there are 26 comments, but there’s a hundred. (0:32:27) Al: And 26 thumbs up. So I don’t think it’s clear cut. (0:32:34) Al: People hate this. I think it’s like there’s a lot of thoughts on this. (0:32:40) Kev: Yeah, yeah, I’m sure, I’m sure. (0:32:43) Al: You’re sure what? (0:32:44) Kev: Yeah, I’m sure there’s a lot of comments. (0:32:46) Kev: Like, it’s so crazy. (0:32:48) Kev: Like, something we didn’t even mention (0:32:52) Kev: is like, on the Steam page, the image next to the title. (0:32:56) Kev: Like, it’s, suppose we’re talking cozy or whatever, (0:32:59) Kev: but like, that looks like an 80s action here, (0:33:01) Kev: a movie poster guy. (0:33:02) Al: Yeah, it really does. (0:33:07) Kev: It’s wild. (0:33:08) Al: It doesn’t look like, it definitely doesn’t look like a rancher, that’s for sure. (0:33:10) Kev: Yeah, yeah, man, this is incredible, because like you said, (0:33:17) Kev: it’s grand theft farming, it really looks like that. (0:33:23) Kev: Cuz it’s nothing here looks like your typical cozy stuff. (0:33:31) Kev: And it’s new ideas, stuff that we don’t see normally and so on and so forth or (0:33:37) Kev: whatever, but it’s it’s just (0:33:40) Kev: I guess it’s just the context like this isn’t what you’d expect. (0:33:44) Kev: Um… (0:33:46) Al: This is the thing, it’s a balance, right? (0:33:47) Al: You will either love this because it’s doing something different or you’ll (0:33:51) Al: hate it because it’s not a cosy feature. (0:33:56) Al: But I kind of love that you can like just steal crops from the other townspeople. (0:34:02) Al: Like that, I kind of like that. (0:34:04) Al: Like I wouldn’t want, I don’t think I’d want that in Stardew. (0:34:06) Al: But like, how many times have you gone, you’d seen someone with crops outside (0:34:11) Al: their house and gone, “Oh, I wish I could just get them.” (0:34:14) Kev: Yeah, that is kind of fun. You’re right. You’re right. I like this concept, too (0:34:19) Al: I don’t know whether this will make it a fun game or not, but I am all in on seeing. (0:34:21) Kev: Um (0:34:23) Kev: I don’t either (0:34:27) Al: Let’s see, why not? (0:34:28) Kev: They’ve they’ve caught our attention they’ve caught our attention i’ll see i’ll say that. Um (0:34:29) Al: What’s the worst that happens? (0:34:31) Al: Yeah, for sure. (0:34:37) Kev: it’s it’s (0:34:39) Kev: Uh, yeah, um, I don’t know i’m excited to see more of this (0:34:41) Al: we will keep an eye on it and uh oh I mean I feel like i’ll definitely (0:34:50) Kev: Oh, oh, I’m I (0:34:55) Al: All right, and our final piece of news, our final piece of news is, my time at Sandrock (0:34:56) Kev: Feel like we have hops and robs (0:35:04) Al: have released a set of chibi figurines. (0:35:10) Kev: Yeah, they’re fine. (0:35:12) Kev: The figures are cute. (0:35:13) Kev: I’ll say that. (0:35:14) Kev: I’ll give them that. (0:35:14) Al: I don’t care about the characters, so it’s not like I’m going to buy them, but yeah. (0:35:18) Kev: Oh yeah, I don’t either. (0:35:20) Kev: Just say they’re cute quality. (0:35:21) Al: Yeah. (0:35:21) Kev: I don’t know what these people are or anything. (0:35:24) Al: Yeah, I would buy these if these were stardew characters. (0:35:24) Kev: I have no investment. (0:35:28) Kev: Oh, you know, I’m shocked that (0:35:31) Kev: Concerned Dave has never done that. (0:35:32) Kev: Like I feel there’s a gold mine to be made. (0:35:35) Al: like it’s a lot of effort to put into these things right and he made enough money with the game that (0:35:42) Kev: Yeah, yeah, I guess I guess that’s it. I guess that’s it, but you know (0:35:42) Al: he doesn’t need to whereas with like the the concert I feel like is something that he really (0:35:52) Al: wanted to do he made a joke in (0:35:53) Kev: Oh, yeah, clearly yeah, that is one thing concerned a but everything he does he does it cuz he cares (0:36:00) Al: in the the pamphlet for I can’t remember what it’s called like the leaflet thing that you get at (0:36:05) Al: the concert it says um the program yeah he made a joke in it that he used to be uh I can’t remember (0:36:14) Al: the exact wording but basically he used to be a musician that was his thing um but he couldn’t (0:36:19) Al: get anyone to buy his music and all he needed to do was make a very successful game for people to (0:36:23) Al: like his music that was it (0:36:25) Kev: That’s what it was all about, that was the long con, I love that, what a giga-chat move. (0:36:31) Kev: I’m going to make a successful video game, like genre-defining game, just so people can (0:36:35) Al: there you go all right that’s the news we are now gonna go into our second harvest of (0:36:39) Kev: buy my music. (0:36:47) Al: helikity island adventure so just for context I played this for a couple weeks when it first (0:36:54) Al: came out on ios and ipad os apple arcade that’s where it was it came out in apple arcade um (0:37:02) Al: play that on my iPad because I don’t have an iPhone. (0:37:06) Al: And I thought it was a really fun game, but I really hated using the touchscreen controls for it. (0:37:13) Al: So I was really excited to play it, not on a touchscreen. You obviously did not play it (0:37:19) Al: when it came out in Apple Arcade, but you were excited to play it. (0:37:22) Kev: I’ve never owned an Apple device in my life. (0:37:25) Kev: Very much so, because it looks wild, and guess what it is wild? (0:37:30) Al: I bought it on Steam, been playing on my Steam Deck, you bought it on Switch, (0:37:34) Al: and you’ve been playing on your switch. (0:37:35) Al: I guess, do we even need to do a quick intro to this game? (0:37:36) Kev: Yep, that’s correct. (0:37:40) Al: I feel like we don’t, because I feel like people know what this game is, (0:37:43) Al: because it’s been so in the news everywhere, right? (0:37:44) Kev: well you’re right it’s okay so well first of all it’s been a minute since (0:37:49) Al: How would you describe it then after having played it a little? (0:37:52) Kev: yeah I i will because I think it has been in the news but it’s also been a (0:37:55) Kev: minute since you know uh the the original episode of (0:37:59) Kev: maddie um so i’ll i’ll look (0:38:00) Al: you know the number of people that i’ve seen who make it who clearly don’t know that this was (0:38:04) Al: released before they’re like oh there’s a new game and it’s like well it’s just right go for (0:38:06) Kev: yeah yeah how about that yeah (0:38:11) Al: it then describe describe it because obviously I was on the previous episode you were not uh so tell (0:38:15) Kev: right (0:38:16) Al: me how you would describe this game having now played it for a bit (0:38:19) Kev: okay so like I think the biggest or easiest comparison point is animal (0:38:26) Kev: crossing new horizons because joker shocker I know (0:38:27) Al: - What? (laughs) (0:38:33) Kev: guess what you’ve got crafting you’ve got a house with furniture you’ve got (0:38:36) Kev: clothing you’ve got friend and neighbors and (0:38:39) Kev: villagers that you can gift things to shockers (0:38:42) Kev: But, it’s all San Río. (0:38:44) Kev: So, you got Hello Kitty and all the characters and whatnot, right? (0:38:49) Kev: Now, with that said, it is a bit more dynamic than Animal Crossing because you are climbing mountains, you’re diving into the ocean, (0:39:01) Kev: you’re, uh, there’s little mini-games and ruins to explore. (0:39:08) Kev: So, you’ve got this open-world island to explore while collecting stuff and– (0:39:14) Kev: catching critters and all this stuff. (0:39:16) Kev: Um, so yeah, so take one part Animal Crossing, one part San Río, and one part, maybe Breath of the Wild ‘cause they understand when we all start. (0:39:25) Al: So this is the thing, I jokingly said Breath of the Wild to people on Slack, but the more (0:39:31) Al: I think about it, the more I actually don’t think that’s a joke. It’s obviously not as (0:39:37) Al: big and as expansive and whatever, but the exploring feels so good. And let me tell you, (0:39:39) Kev: right (0:39:41) Kev: There’s no combat (0:39:48) Al: it feels so much better being able to play with a controller than using the touchscreen, (0:39:52) Al: But, like, that has not changed. (0:39:55) Al: It’s not changed since the first time I’ve done it, just the idea of being able to go like, “Oh, there’s a hill, there’s a volcano there, let me climb that volcano,” and you can just figure out how to do it, even though you know you’re not really meant to be going there yet, right? (0:40:09) Kev: Yeah (0:40:09) Al: Like, you’ve not progressed the story to that point, but you can just make it work. (0:40:11) Kev: What I wanted to Ritsuko was up there, I really wanted to clivet volcano (0:40:17) Al: And you can, and this is the thing, it’s designed in such a way that, like, you have a stamina bar, and, like, you can’t just climb straight up forever. (0:40:25) Al: There’s little ledges, and there’s, like, other things you can climb up on, and you can rest, and you can get anywhere you want to if you really want to. (0:40:26) Kev: Yeah, but if you look yep (0:40:33) Kev: Yup pretty much right like sometimes it’s real hard like sometimes it’s challenging (0:40:39) Kev: But if you try you get you really scrape and look for you can find a way (0:40:46) Al: You know the meme, this is why I don’t do X anymore, there’s too many sweats. (0:40:46) Kev: Yeah (0:40:50) Al: I feel like that, but with this, right? (0:40:50) Kev: Yeah (0:40:52) Al: This is why I don’t play Hello Kitty anymore, there are too many sweats. (0:40:59) Kev: Okay, so um and okay, and so of course the game like it begins with as (0:41:06) Kev: So you’ve lauded so many times Alan rightfully, so it begins with jumping out of a plane (0:41:13) Al: And a snake, a snake’s on a plane reference. (0:41:15) Kev: Everyone’s a (0:41:17) Kev: Snakes on a plane reference (0:41:20) Kev: there (0:41:21) Kev: Okay, so we you know remember you describing that you’ve told me that before and (0:41:26) Kev: You know I thought that was wild but then I when I played it the the crazy part to me is there was no (0:41:32) Kev: actual reason to jump from (0:41:35) Kev: there was I’ve been shooting out a lot of cake and I (0:41:40) Kev: Don’t know well inconvenient. I don’t think (0:41:40) Al: just gets fed up and says ‘I’m fed up of these cakes on this plane’ and then just jumps out the plane. (0:41:46) Kev: And everyone’s like all right, we’re going let’s do it. We’re falling (0:41:48) Al: Yeah, yeah. That’s the weirdest bit. Is it like, ‘Okay, fine. I bet. Let’s do this.’ (0:41:55) Kev: uh oh my gosh oh so yeah that that’s our premise um I i like that little intro (0:42:02) Al: I just thought you go up, you go up to, you go up to Hello Kitty and she’s like, “Oh, (0:42:08) Al: here are some balloons. (0:42:09) Al: Trust me.” (0:42:10) Al: And you’re like, “Do I, do I trust you with balloons?” (0:42:14) Al: Well, yeah, no. (0:42:16) Kev: well it worked also you get a diving like air skydiving minigame which go (0:42:22) Kev: through the rings I don’t even know if they get you anything but or if you ever (0:42:24) Al: I don’t know, I don’t think, I don’t know if you do ever do that again, obviously you (0:42:26) Kev: do that again (0:42:29) Al: use the balloons again, right, like you can jump off things and use the balloons, but (0:42:33) Al: I don’t think that minigame type thing is ever in the game again, I don’t know, I mean (0:42:39) Al: I’ve not finished it, so maybe there is a time, but yeah, it’s really weird. (0:42:44) Kev: And you go through rings, but I don’t remember getting anything for going through there (0:42:50) Al: to get satisfaction of having gone through the rings. (0:42:53) Kev: Yeah, yeah, that’s pretty much and then you know, that’s fine (0:42:57) Kev: Okay, so (0:43:00) Kev: First okay one of the actually before you jump off the plane you design your character (0:43:05) Kev: And I love the freedom in that because you can be because we’re talking Sanrio, right? (0:43:11) Kev: So we’ve got all the different critters and animals and you can (0:43:14) Kev: be pretty much anyone you want. I think the options for customizing is pretty fun. What (0:43:21) Kev: was your little avatar? A dog? Yeah. Styles, breeds or whatever. Yeah. Yeah, like you can (0:43:23) Al: Yeah I’m a dog but yeah I like it they’ve got like I think it’s like eight different animals and then within the animals they’ve got different face shapes and they’re like dramatically different styles of them and then yeah you can like change your bunch of other stuff. (0:43:42) Kev: be a bird, and in the birds, you can be a bird. (0:43:44) Kev: I’m a penguin, or like a falcon, or blue jay, or whatever. (0:43:47) Kev: Mine looks like a blue jay, basically. (0:43:49) Kev: I got a little pen that looks like a blue jay in the shape of that. (0:43:52) Al: I chose the fattest dog that existed in the list, I couldn’t really describe what type (0:43:59) Al: of dog it looked like, but yeah, it was just the chubbiest, comfiest looking dog. (0:44:02) Kev: Yeah, yeah, the wall like a brick house (0:44:08) Kev: Yeah, like that’s a good one (0:44:11) Kev: So, um, you know, I think I should (0:44:16) Kev: Before continuing I should declare I don’t know Sanrio very well to be quite Frank (0:44:21) Kev: I know Hello Kitty because one of the most iconic (0:44:22) Al: Me neither. (0:44:26) Kev: Characters ever created right dominates Japan (0:44:30) Kev: But I don’t know the (0:44:32) Kev: rest of the cast that well. So this is my first venture into the Senri universe. (0:44:36) Kev: I knew Agritsuko because her anime was pretty popular. I didn’t watch it, but I (0:44:41) Kev: knew the character. And I love how she’s treated as the the kind of the outsider. (0:44:48) Kev: Everyone else is friends, but she doesn’t know anyone. That was kind of cute. But (0:44:53) Kev: yeah, it’s been fun to meet all these characters. Bompurin is the best. I’m a (0:45:02) Kev: Bompurin. Yeah, the carapace is pretty cute. He’s pretty fun. (0:45:07) Kev: But it’s Meru. He’s the one who was tired of the cakes and jumped off the (0:45:12) Kev: plane. So you know, there you go. I think that sums him. Oh yeah, yeah, he’s a big (0:45:12) Al: Yeah. And a big comic guy. A big comic guy as well. (0:45:21) Kev: comic guy. Both like he likes jokes and the actual comics. So yeah, so he got all (0:45:29) Kev: that, um, so I played (0:45:32) Kev: the game for about a week, not even a full week. (0:45:34) Kev: I got it on Monday, I think it was, um, yeah. (0:45:38) Al: something like that. Yeah. Yeah. I think Monday, yeah. (0:45:40) Kev: Uh, so it, uh, like, I mean, I really enjoyed the game because, but also I feel (0:45:48) Kev: like there’s still so much for me to do, um, because the game is quest driven, right? (0:45:55) Kev: Like you’re, you’re, you’re going around your, you have to complete quests for (0:45:58) Kev: people, gathering things, crafting things, so on and so finding things. (0:46:02) Kev: Um, and that’s kind of what progresses. (0:46:05) Kev: Not just the quote unquote story, but all the features, right? (0:46:08) Kev: Like it’s not like animal crossing where you just wait for the shovel to show up (0:46:12) Kev: in Tom look store to buy it. (0:46:14) Kev: You have to complete a quest to unlock a fishing rod, the net, whatever. (0:46:18) Al: Oh, and quests is the game, like this, if you don’t like quests, if you don’t like (0:46:19) Kev: » Yeah. (0:46:23) Al: fetch quests, this is not the game for you, like everything is a quest. (0:46:26) Kev: - Yeah, yup. (0:46:27) Kev: Yup. (0:46:27) Al: But that means that I remember, I’m sure I talked about this last time, but I need to (0:46:31) Al: bring it up again. (0:46:32) Al: The quest system in this is so good. (0:46:35) Al: Like as someone who loves quests and loves lists of quests, it’s absolutely good. (0:46:40) Al: Not only does it show you every quest that you’ve ever done, and every quest that you (0:46:44) Al: currently have that you can do. (0:46:46) Al: It also shows you future quests and what you need (0:46:48) Al: to do to get them. It’s great, because everything is based on friendship levels and gifting (0:46:50) Kev: Yep, that is pretty solid. (0:46:55) Al: things to the other villagers, blah, blah, blah. And so it’s like, oh, to get this quest, (0:47:00) Al: you need to talk to this person, or you need to get this person to friendship level four. (0:47:05) Al: And it’s just like, it’s so good. And it can be a little bit overwhelming, especially at (0:47:08) Al: the beginning, when you go from one or two things to do, to suddenly you have a list (0:47:12) Al: of 10 things, but you can pick and choose and you don’t need to go quickly. (0:47:14) Kev: Y

This is the second of two episodes talking about the people in the north of the Japanese archipelago:  The Emishi and the Mishihase.  Last episode we covered things from an archaeological overview, looking at the traces of the Epi-Jomon, Satsumon, and Okhotsk Sea cultures.  This episode focuses more on what was actually written in the Nihon Shoki, including a journey to introduce Emishi to the Tang Emperor himself! For more information, check out our podcast blog at: https://sengokudaimyo.com/podcast/episode-117   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 117: The People of the North, Part 2 Abe no Hirafu gazed out at the sea, waiting for his opponents to appear.  He had traveled with a fleet to the far north, into a land that was unlike anything that most of his men had ever seen.  They were far away from the rice fields of their home villages.  Up here, the people made their way by hunting and fishing, and the land was much more wild.  Besides the people, the land was also home to giant bears, much larger than anything back in the Home Provinces.  Giant beasts with paws the size of a man's head.  They were truly incredible, but they were not his target this time. As he watched the waves, he saw his prey emerge.  They rowed their ships around the cape, coming out from the defensive position they had previously established.  Where Hirafu's men flew banners made of silk, his opponents had created flags made of feathers, which they hoisted high in their boats.  They were small in number, but they knew this land and these waters.  They were comfortable traveling in the cold and unforgiving seas, and they no doubt had reinforcements.  Hirafu may have had the upper hand, but he knew he couldn't get too cocky. It was probably too much to hope for that the size of his fleet alone would cause them to submit.  If they could be bought off, then perhaps that was best, but Hirafu knew that was probably unlikely.  This was going to be a fight, and Hirafu and his men were ready for it. Before we jump into the episode proper, a quick thank you to Hakucho for donating to support Sengoku Daimyo.  We always appreciate any support, and there is information at the end of each episode on how to help out if you would like to join them. Last episode we introduced the Emishi and the Mishihase and talked about them and their connections to the Yamato and Japanese state, as well as to the modern Ainu people.  We went over a lot of the archaeological findings, and talked about how the Jomon period, uninterrupted in northern Honshu and Hokkaido, eventually gave way to the Epi-Jomon and Satsumon cultures, while the Ohokotsk Sea Culture is observed from around the 5th to 9th centuries, and we talked about how these existed in the lands we know as being connected to the Emishi and the Mishihase people mentioned in the Chronicles. This episode we are going to rely a lot more on the narrative found in the Nihon Shoki, but I wanted to make sure that we had that discussion about the archaeology, first, so that people would have a background.  If you haven't already done so, I highly recommend going back and giving Part 1 a listen. So let's back up a bit, and let's set the scene on the peninsula and the archipelago, and see what led up to this moment. In 654, the sovereign of Yamato, Karu, aka Kotoku Tennou, had passed away in his palace in Naniwa.  His sister, Takara Hime, and other members of the royal family had gathered once more in Naniwa when they caught word of his illness, but their visit was brief.  Karu passed away on the 1st day of the 10th month, and a little over two months later he was buried.  After that, rather than taking up residence again in Naniwa, the court moved back to the old capital of Asuka, where Takara Hime re-ascended the throne.  It was now the year 655, almost a decade since Crown Prince Naka no Oe had orchestrated the murderous coup that had seen the powerful scions of the Soga family cut down in front of Takara Hime and others, causing her to abdicate.  And now, well, perhaps Naka no Oe was comfortable controlling things from behind the scenes, because Takara Hime was once again the one in power—or at least the one sitting on the throne.  And there's a LOT that would go on during this reign according to the chronicles. On the peninsula at this point, the Tang-Goguryeo war was in full swing, with the Tang dynasty regularly harassing Goguryeo.  Goguryeo was at least nominally allied with Baekje, whose ruling family also claimed descent from a shared Buyeo ancestor, and Baekje was, of course, a long time ally of Yamato.  Meanwhile, Silla had thrown their lot in with the Tang dynasty, though as alliances went it was not exactly an alliance of equals – and most alliances came and went as the political winds changed throughout the peninsula. Over time, we'll see some resolution coming to the situation on the peninsula.  But overall, one of the biggest trends is that during Takara Hime's second reign, Yamato was reaching out to a much wider world than it had in the past.  This included connections to the south—to those on the Ryukyu islands, and possibly beyond.  And there were continued efforts to reach out to the Tang empire, with varying degrees of success.  Those that did go would sit and learn at the feet of some of the most famous scholars in the world, including the Buddhist priest, scholar, and traveler, Xuanzang, someone I cannot wait to get into in a future episode, as he really demonstrates just how connected the world had become at this time in a way that is often hard for us to comprehend, today. But there is also plenty happening in the archipelago, and even just in Asuka.  In fact, regardless of what the Chronicles say, there are a lot of ancient monuments and archaeological finds in the Asuka region that aren't directly mentioned in any historical record, but can be generally traced to this era - reminders of this period that are literally carved in stone.  We still have plenty of questions as to just what was going on, but we're starting to see more and more lasting physical traces. Our first relevant entry in the Nihon Shoki for the topic of this episode comes from the 7th month of 655, the year that Takara Hime had taken the throne.  We are told that 99 Northern Emishi and 99 Eastern Emishi were entertained at the court of Naniwa—presumably using the government facilities built during Karu's time.  At the same time, there were 150 envoys from Baekje who were likewise feted.  Caps of honor, of two grades in each case, were bestowed on nine Emishi of Kikafu and six Emishi of Tsugaru.  This is an interesting record, and let's explore what it means for Yamato's view of itself and its own authority.  First, the Baekje and the Emishi are being streated similarly—they both appear to be groups that are from *outside* Yamato conducting some kind of diplomacy with the court.  That said, it is quite clear from the way that the Chronicles deal with them that Yamato viewed each group as distinctly different.  Baekje was Yamato's continental ally, and their primary means through which they could access the continent and all that it had to offer.  They had helped bring Buddhism to the archipelago, and were clearly seen as a civilized country.  The Emishi, on the other hand, were Yamato's own “barbarians”.  They were outside and Yamato clearly saw them as less civilized.  In many ways Yamato viewed the Emishi similar to how the Tang court likely viewed Yamato.  After all, just as Tang literature talked about the differences between the quote-unquote “civilized” center of the empire and the so-called “barbaric” lands beyond their borders, Yamato could place itself in a similar position, simply by placing the Nara Basin at the “Center” and with the Emishi helping define that which was outside.  So in an odd way, this may have been uplifting for Yamato's own self-image. And just as the Tang court enticed border states into their sphere of influence with the promise of imperial titles, the Yamato court similarly was bestowing rank upon the Emishi, making themselves the granter of prestige and recognition.  By being a part of the system, you were rewarded with recognition of your status, something that likely appealed to many. As to the places referenced – Kikafu and Tsugaru – Aston isn't certain about Kikafu, but Tsugaru seems quite obvious as the northernmost tip of Honshu, in modern Aomori prefecture, where the islands of Honshu and Hokkaido are separated by none other than the Tsugaru strait. The fact that the Chroniclers differentiated between the Eastern and Northern Emishi likewise suggests that this was not a monolithic state.  Yamato saw a difference between the Emishi in one part of the archipelago versus the other. Three years later, in the 4th month of 658, Yamato sent one of the largest expeditions against the northeast.  Abe no Omi—other entries name him as Abe no Omi no Hirafu—took 180 ships up north on an expedition to the Emishi.  We are told that he met with the Emishi in the districts of Aita and Nushiro, believed to be in modern Akita prefecture.  Akita prefecture is on the western side of Tohoku, towards the very northern tip.  It is opposite Iwate prefecture on the east, and just below Aomori prefecture, which, at the time, was known as Tsugaru.  This was on the extreme end of Honshu. Both Aita and Nushiro quickly submitted to the Yamato mission.  Still, Abe drew up his ships in order of battle in the bay of Aita, where an envoy from the Emishi named Omuka came forward and made an oath.  He swore that they had no ill-intentions.  The fact that the Emishi were armed with bows and arrows was not because they were at war, but because up in that area of Tohoku, they were all hunters, and so it was their regular tool.  They swore to the gods of Aita bay that they had not raised arms against Yamato, but they were willing to submit to Yamato rule. For his part, Omuka was granted court rank, and local governors were established at Nushiro and Tsugaru—likely meaning they recognized local chieftains and made them responsible for representing the others.  Finally, they summoned the Emishi of Watari no Shima to the shores of Arima, and a great feast was provided.  After that, they all returned home. The  term “Watari no Shima” seems to almost undoubtedly refer to the island of Hokkaido.  “Watari” means to cross, so referring to the “Emishi of Watari no Shima” likely referred to the Emishi on Hokkaido vice those in the Tohoku region. The entire entry seems a bit suspect.  Abe no Hirafu takes an armed party up north and then they all… just sit down and have tea together?  There seems to be a lot of missing context.  Of course, from Yamato's perspective, they were the civilized center.  Does that mean that any violence they committed was simply swept under the rug of history?  Or did they truly meet with such quick submission that only a show of force was necessary? There is one other entry for 658, relative to all of this. It isn't given a specific date, so it is unclear when, exactly it occurred, but it may shed some light.  That entry states that Abe no Hikida no Omi no Hirafu, warden of the land of Koshi, went on an expedition not against the Emishi, but against the Mishihase, or Su-shen.  He is said to have brought back from this trip two live “white bears”, or “shiguma”. So was his expedition really against the Emishi, or was his actual goal to fight the Mishihase, which means he didn't just stop at the end of Honshu, but he continued on to Hokkaido—Watari no Shima—and up at least to Central Hokkaido, where he would have met with the people of the Okhotsk Sea culture—likely the Mishihase of the Chronicle?  Or was he sailing against both? This also leads to numerous other theories as to just what was going on.  While Yamato was pushing on the Emishi from the south, were these Mishihase likewise encroaching on the Emishi in the north?  Were they pushing them south or absorbing those in the farthest north?  There seems to have clearly been a difference and some conflict between them, as evidenced by later entries, which we'll cover in a bit. Quickly, though, I do want to touch on the idea that they brought back two “white bears”.  “Shiguma” appears to refer to a “white bear”, and at its most simplistic understanding, this would seem to refer to a polar bear, but that seems quite a stretch.  Today, polar bears largely live in the arctic regions, out on the permanent sea ice, where they are able to hunt.  They are considered an aquatic animal, living mainly in the ocean, though they will come ashore to hunt, on occasion.  Still, they are mostly adapted to life on the sea ice. While the climate of the 700s was different, I don't know that the sea ice extended that far south.  It is possible that polar bears had been captured much further north, and then sold to people further south, through the extensive trade networks that ran up through Kamchatka, Siberia, and even across the Aleutian chain, but as far as I can tell, polar bears would not have been living in Hokkaido or even in the Kuril or Sakhalin islands at that time. It is much more likely that the “Shiguma” was one of the Hokkaido brown bears.   They may have been albino, but more likely it was simply an easy designation to distinguish them from the bears of the rest of the archipelago—the Asian black bear.  These are clearly black bears, though their fur can appear lighter in some instances.  Meanwhile, although brown bears can be a very dark brown, their fur can vary to almost a blond, and if you look at many photos you can see how they might be considered “white”, especially compared to the black bear that was the norm in Yamato.  I suspect that this is actually the species that Hirafu brought back, and which would be referenced in later entries, where “shiguma” furs appear to be have been quite plentiful, suggesting it wasn't just a rare mutation. In addition, I can't help but note that the presence of bears, here, seems to also further connect with modern traditions of the Ainu of Hokkaido.  Most notably in their reverence for bears, including the traditional Iyomante ceremony.  There is also evidence of the importance of bears in what we see of the Okhotsk Sea Culture.  It is hard to tell if there is more from this interaction, but it still raises some questions. But I digress.  While there are still a lot of gaps, we can see that the Emishi were being brought into the fold, as it were, while the Mishihase were apparently the threat that Yamato would be fighting.  In fact, I can't help but wonder if the threat posed by the Mishihase didn't help encourage the Emishi to ally themselves with Yamato in an attempt to protect themselves. Whatever happened, the relationship with the Emishi, from that point, seems to place them as subjects of Yamato.  We are told that three months later, over 200 Emishi visited the Yamato court, bringing presents for the sovereign.  These were not just the Emishi of the far reaches of Tohoku, but seems to have included Emishi from several different regions.  We are also told that the entertainment and largess provided by the court was even greater than any time before, no doubt presenting the carrot in contrast to Abe no Hirafu's stick. One of the carrots handed out was court rank,  We are told that two Emishi of the enigmatic Kikafu region each received one grade of rank while Saniguma, the Senior governor of Nushiro, was granted two steps in rank, making him Lower Shou-otsu in the rank system of the time, and he was given the superintendence of the population register—likely meaning he had a charge similar to the other governors dispatched to take a census and let the court know just how many people there were in the region.  His junior governor, Ubasa, received the rank of Kembu, the lowest rank in the system. Meanwhile, Mamu, the Senior governor of Tsugaru was granted the rank of Upper Dai-otsu and Awohiru, the Junior governor of Tsugaru, was granted the rank of Lower Shou-out. At the same time, two ranks were granted on the Miyatsuko of the Tsukisara Barrier and one rank was granted to Inadzumi Ohotomo no Kimi, Miyatsuko of the Nutari Barrier.  These last two appear to have been members of Yamato rather than Emishi, but clearly all related to the issue of the borders and beyond. And so we are given three different locations.  We are not told the names of the Emishi from Kikafu, but we are given the names of the senior and junior governors—likely local chieftains co-opted into the Yamato polity—of Nushiro and Tsugaru.  Together with the name “Omuka” we have some of our earliest attestations to possible Emishi names—though whether these were names, titles, or something else I could not say.  We have Saniguma, Ubasa, Mamu, and Awohiru.  None of these are given with family names, which seems to track with the fact that formal “family” names appear to have been an innovation of the Kofun culture, rather than an indigenous phenomenon. I would also note that I am not sure if these ranks came with any kind of stipend: after all, much of that region wasn't exactly suited to rice-land, so where would the stipend come from?  That said, there were certainly more practical gifts that were laid out for them as well.  The governors of Nushiro and the governors of Tsugaru were each given 20 cuttle-fish flags—likely a banner similar to the koi nobori, or carp banners, in use today—as well as two drums, two sets of bows and arrows, and two suits of armor.  This seems to be one for the Senior and one for the Junior governor.  In addition, Saniguma was commanded to “investigate” the Emishi population as well as what Aston translates as the “captive” population—by which I suspect they mean those living in bondage within the Emishi communities.   It is interesting to me that even though the senior governor of Tsugaru was given a higher rank, this last duty was only given to the governor of Nushiro. And there you have it.  With all of that the Emishi were at least nominally subject to the Yamato court.  They were still, however, cultural outsiders.  It is quite likely that they spoke a different language, and given the number of placenames in Tohoku that seem to correspond with the modern Ainu language, it is quite likely that a language at least related to modern Ainu was spoken in the Emishi controlled areas. A similar pattern to the year 658 took place in the entries for the following year.  Once again, Abe no Hirafu went north with 180 ships on what we are told, at least in Aston's translation, was an expedition against the Emishi.  He assembled a selection of the Emishi of Akita and Nushiro, totaling 241 people, with 31 of their captives, as well as 112 Emishi of Tsugaru with 4 of their captives, and 20 Emishi of Ifurisahe.  Once he had them all at his mercy he then… feasted them and gave them presents.  Is this really what an expedition *against* the Emishi looked like?  It almost sounds more like a diplomatic mission. We are told that after feasting and giving the assembled Emishi presents, Abe no Hirafu made an offering to the local gods of a boat and silk of various colors. He then proceeded to a place called “Shishiriko”, where two Emishi from a place called Tohiu, named Ikashima and Uhona, came forward and told him that Yamato should create an outpost at Shiribeshi, on the west coast of Hokkaido, which would be the seat of local Yamato government.  This sounds not entirely dissimilar from the idea of the Dazai in Kyushu.  Abe no Hirafu agreed and established a district governor there. Relevant to this, between the 7th and 8th centuries, we see clusters of pit dwellings in Hokkaido largely in the areas corresponding to the modern sub-prefectures of Sorachi, Ishikari, and Iburi, with many of them clustered near modern Sapporo, and a very small number near Rumoi, further north along the western coast. Once more it is another account, not the main narrative of the Nihon Shoki, where we might see what was really going on.  That entry claims that Abe no Hirafu went north to fight with the Mishihase and, on his return, he brought back some 49 captives.  So was this what all of this was really about?  Was he going up there to fight the Emishi, or was he perhaps fighting with the Emishi against the Mishihase? When Abe no Hirafu finally returned, it seems that the provincial governors of Michinoku—pretty much the whole of Touhoku—and Koshi, which was also a land known for being home to Emishi, were granted two grades of rank.  Their subordinates, the district governors and administrators, each received one grade of rank. We are also told that on the 17th day of the 3rd month of 659, that a copy of Mt. Meru was constructed on the riverbank east of Amakashi no Oka and that Emishi of Michonoku and Koshi were both entertained there.  Little more is given, and, again, it isn't clear if this is before or after Hirafu's expedition of that year. Mt. Meru—read as Shumisen, today—is the mountain at the center of the world, according to some Buddhist traditions.  Building a copy would have been a statement, creating a copy of the mountain and bringing the center of the universe to you.  This was probably a feature in a garden—at least that is how it was conceived of during the reign of Kashikiya Hime.  This second one may have been made with a pile of stones, and there have even been found some features in Asuka that some think could be remnants of this ancient model of the universe, but they aren't without controversy. In any case, that same year that the Emishi were brought to Asuka to view this Buddhist monument, in 659, a mission was sent to the Tang court.  We'll talk about the mission at some other time, but for now I want to focus on the fact that they brought with them an Emishi man and a woman to show the Tang emperor.  Regrettably, we don't know their names, and we don't know their status in Emishi society.  Were these captives, possibly enslaved?  Or were these volunteers, who had gone willingly with the envoys to see the lands beyond their home.  They likely had heard of the Tang empire from Yamato, and so it wouldn't be so surprising if they decided to go see it for themselves. Where it is of particular interest to us right now is that we have an apparent eyewitness account of the description given to the Tang Emperor about the Emishi by the Yamato envoys.  Be aware that the envoys were not necessarily experts in Emishi culture, and may not have met any other than their travel companions, but the description, given by none other than Yuki no Hakatoko, who was apparently there, at the Tang court, when it happened, gives us invaluable insight into how Yamato viewed the Emishi. The entire thing is a bit of a question and answer session as the Tang Emperor, Tang Gaozong, inquired about the Emishi and who they were.  In response to his questions, the envoys assured him that Yamato and the Emishi were at peace with each other.  They further noted that there were three different groups of Emishi.  Those farthest from Yamato were the Tsugaru Emishi.  Next, slightly closer to Yamato, were the Ara-Emishi.  “Ara” in this case means “soft”, and was probably a reference to the fact that those Emishi closer to Yamato were seen as more compliant.  Finally ,there are the “Nigi-Emishi”, living right on the borders.  “Nigi” in this case seems to refer to them being the “Gentle” or even “Civilized” Emishi.  I suspect that those living closest to Yamato were also the ones doing things like farming, and possibly building burial mounds.  They may have even mixed with some of the border communities, and may have included Wa communities that were outside of Yamato's influence.  After all, it isn't entirely obvious that “Emishi” referred to a single ethnic identity. In providing further answers to the emperor's questioning, we are told that the Emishi, at least according to the Yamato envoys, didn't farm, but instead they sustained themselves through hunting and fishing.  Furthermore, we are told that they didn't live in houses, but instead they dwelt under trees and in the recesses of the mountains.  This one is a little more questionable, after all, we have evidence of pit houses and villages all the way up to Aomori and back to Jomon times.  However, it is quite possible that Yamato was often encountering hunting parties, which very likely may have been using makeshift shelters or utilizing natural features like caves when they were out traveling.  Some of this, though, may have been built around ideas and concepts of how quote-unquote “barbaric” people lived, focusing on the exceptional, exotic, and sensationalist instances rather than on the more mundane day-to-day details.  Finally, the emperor himself commented on the “unusual appearance” of the Emishi.  We know that the Japanese terms for the Emishi refer to them as hairy barbarians, and if they were anything like modern Ainu, they were likely a good deal more hirsute than their Yamato neighbors.  This was no doubt a stereotype, as, again, Emishi may have also included some members of the Wa in their numbers, but they also appear to have included groups of people that were quite physically distinct.  Some DNA evidence also bears this out, and even today many people with deep ancestral ties to the Tohoku region demonstrate closer ties to ancient Jomon populations than to the succeeding Yayoi population that came over from the continent with their rice farming techniques. And so that gives us mostly what we know about the Emishi, except that they seem to have left out the Emishi of Watari no Shima—the Emishi of Hokkaido.  They would have been beyond the Tsugaru Emishi, unless they were considered similar, and painted with the same brush. And speaking of Watari no Shima, we have one more entry before we bring things to a close, and that is from the third month of the year 660.  Once more, Abe no Omi, who must have been getting his frequent sailor miles in by this point—or at least one hopes he had been invited to the Captain's circle at least.  Anyway, Abe no Omi was sent on yet another expedition, this time with 200 ships, and this time quite specifically against the Mishihase.  He made a stop in Michinoku on the way up where he brought some of the Emishi on his own boat—possibly as translators and guides.  They then continued northern until they reached a large river—Aston suggests that it was possibly the Ishikari river, north of modern Sapporo.  There they found a thousand Emishi of Watari no Shima encamped. Upon seeing the Yamato forces, two men came out from the camp to let Hirafu and his men know that the Mishihase had arrived in their own fleet, threatening to kill all of them.  And so they asked permission to cross the river over to Hirafu and join him.  Specifically we are told they asked to “serve the government” suggesting that they were willing to suborn themselves if Hirafu would assist with driving off the Mishihase. Hirafu had the two spokespersons come aboard his ship and then show him where the enemy was concealed.  They showed him where, telling him that the Mishihase had some 20 ships. Hirafu sent for the Mishihase to come and face him, but they refused.  And so instead he tried a different tactic.  He piled up colored silk cloth, weapons, iron, etc., in sight of the Mishihase, hoping that their curiosity and greed would get the better of them.  Sure enough, they drew up in their boats, which were decorated with feathers tied on poles like a flag.  Their vessels were powered with oars, and they brought them to the shallows.  From there, they sent two older men out to inspect the pile.  The men came out, and when they saw what was there, they exchanged their clothes for some from the pile and took some of the silk cloth and then returned to their ship.  After some time, they came back out, took off the exchanged garments and laid them down with the silk.  With that, they then boarded their ship and departed. Aston suggests that this behavior mimics an aspect of something called an “unseen trade” which he claims had been common in the region of Hokkaido until recently.  I hadn't found anything specifically about that, but it does make a kind of sense, especially if groups are possibly hostile and perhaps don't speak the same language. So does that mean that, for all of his military might, Hirafu was basically just buying off the Mishihase? In any case, it seems they did not take it.  They left the garments and the silk, which seems to have indicated that they had no deal, and they departed.  Hirafu pursued the Mishihase, and tried to get them to come out again—presumably looking for a stand up fight between his 200 ships and the MIshihase's 20, but instead the Mishihase headed to the island of Herobe, in another part of Watari no Shima.  After a while of being holed up, the Mishihase did sue for peace, but by that point, Abe no Hirafu was having none of it.  So they took themselves to their palisades and there they tried to hold out against Abe no Hirafu's forces.  Noto no Omi no Mamukatsu was slain in the fighting, as we can only suspect that others were as well, but over time the Yamato forces began to wear them down. Finally, when it seemed there was no way they could win or escape, the MIshihase took the drastic step of killing their own women and children, perhaps fearing what the Yamato soldiers would do to them if they were caught. And with that, it was over.  There are only a few mentions of the Mishihase, or even the Emishi, in the rest of the Nihon Shoki.  Granted, as we will eventually see, the people of Yamato were no doubt pre-occupied with what was going on to the west, where the Baekje-Tang war would be soon coming to a close.  Abe no Hirafu would be called on, once more, in that famous conflict, but we are going to save that for another day. For now, I think we can end things here.  Or just about.  I would be remiss if I didn't mention that there is a theory that many of these expeditions were actually the same thing, but recorded slightly differently in different ways, with some confusion about the actual dates.  Even if that was the case, it doesn't necessarily discount the overall information provided, and that information seems to at least somewhat conform to what we know about the archaeological record, as far as I can tell.  Granted, this is still the story as told by outsiders.  Since the people labeled “Emishi” didn't leave us with any records of this time, themselves, we don't exactly have their side of things, which is something we should keep in mind. This isn't the last time the Emishi will pop up in Japanese history.  Even if they were being granted rank, the Emishi remained a group apart.  Succeeding generations of Japanese would settle in the Tohoku region, eventually absorbing or pushing out the Emishi, or Ezo, while on Hokkaido, the people we know as the Ainu, who were likely an amalgamation of both Okhotsk Sea people and Epi-Jomon and Satsumon cultures, would eventually become dominant across the island of Hokkaido—at least until the 19th century. But that is for much later episodes.  For now, we'll continue to stick with our small, but active corner of the 7th century.  There is still a lot more to explore in this reign.  Next episode will be our annual New Year's recap, and then we will continue on with more from this episode in the following year. Until then thank you for listening and for all of your support. If you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

S20 Ep26: In Which Mur and S.B. Divya Discuss Worldcon, Accessibility, and Future Worlds NOTE- I will be doing a giveaway for signed copies of Meru and Loka on October 31, 2024! Details on how to win are inside the podcast! I'm delighted to welcome welcome my longtime friend, S.B. Divya, to discuss Divya's new book, Loka. We dive into our experiences at Worldcon, the intricacies of accessibility at large conventions, and the unique challenges faced by those with disabilities. Divya shares her journey in creating a richly detailed future world for her books, explaining how she envisions life a thousand years from now and the process of worldbuilding that supports her stories. We also explore the concept of burnout, particularly in the context of long Covid, and how Divya managed to balance her writing career with her health needs. The conversation highlights the importance of taking intentional breaks and the reality of being a writer with a disability. We get insights into Divya's creative process, her thoughts on genetic engineering, space exploration, and the sociopolitical landscapes of her speculative worlds. Plus, there's a special giveaway for US listeners to win signed copies of Meru and Loka! Transcript Links: S.B. Divya's Website Loka by S.B. Divya Meru by S.B. Divya Greta Thunberg Clarkesworld Magazine   Evergreen Links Like the podcast? Get the book! I Should Be Writing book. My newsletter, The Hot Mic, and my Patreon. Supporting either of those will get you perks like access to the discord, exclusive content, and early, ad-free episodes. Socials: Bluesky, Mastodon, TikTok, Instagram, YouTube, Focusmate. Theme by John Anealio Savor I Should Be Writing tea blends Support local book stores! Station Eternity, Six Wakes, Solo: A Star Wars Story: Expanded Edition and more! OR Get signed books from my friendly local store, Flyleaf Books! All books featured in Season 20 "Navigating WorldCon and Writing Challenges with SB Divya" is brought to you in large part by my supporters, the Fabulists, who received an early, expanded version of this episode. You can join our Fabulist community with a pledge on Patreon or Substack! Some of the links above may be affiliate, allowing you to support the show at no extra cost to you. Also consider leaving a review for ISBW, please! CREDITS Theme song by John Anealio, art by Numbers Ninja,and files hosted by Libsyn (affiliate link). Get archives of the show via Patreon. October 7, 2024 | Season 20 Ep 26 | murverse.com "Navigating WorldCon and Writing Challenges with SB Divya" by Mur Lafferty is licensed under CC BY-NC-SA 4.0