title: Templo Mayor

text: The pyramid was composed of four sloped terraces with a passage between each level, topped by a great platform. It had two stairways to access the two shrines on the top platform. Facing the structure, the left shrine was dedicated to the water god Tlaloc while the right shrine was dedicated to the god of the sun and war, Huitzilopochtli. The two temples were approximately in height, including the pyramid, and each had large braziers where the sacred fires continuously burned. The entrance to each temple had statues of robust and seated men which supported the standard-bearers and banners of handmade bark paper. Each stairway was defined by balustrades flanking the stairs, terminating in menacing serpent heads at the base. These stairways were used only by the priests and sacrificial people. The entire building was originally covered with stucco and polychrome paint.


title: Templo Mayor

text: The deities were housed inside the temple, shielded from the outside by curtains. The figure of Huitzilopochtli was modeled from amaranth seeds held together with honey and human blood. Inside of him were bags containing jade, bones, and amulets to give life to the god. This figure was constructed annually, and it was richly dressed and fitted with a mask of gold for his festival held during the Aztec month of Panquetzaliztli. At the end of the festival, the image was broken apart and shared among the populace to be eaten.


title: Templo Mayor

text: In his description of the city, Cortés records that he and the other Spaniards were impressed by the number and magnificence of the temples constructed in Tenochtitlan, but that was tempered by this disdain for their beliefs and human sacrifice. On 14 November 1519, Cortes seized the emperor Moctezuma II and ordered the destruction of all Aztec religious relics. Cortes ordered a Catholic cross placed on the Templo Mayor. While Cortes left for Veracruz to confront Spaniards looking to arrest him, Pedro de Alvarado learned of a plan to attack the Spaniards and staged a preemptive attack on the Aztecs in the Sacred Precinct while they celebrated a religious festival. Unarmed and trapped within the walls of the Sacred Precinct, an estimated 8,000–10,000 Aztec nobles were killed. When word of the massacre spread throughout the city, the people turned on the Spaniards, killing seven, wounding many, and driving the rest back to their quarters. The Spaniards were trapped between two Aztec forces, and 68 were captured alive. Ten of these Spanish captives were immediately sacrificed at the Temple, and their severed heads were thrown back to the Spaniards. The others were sacrificed at the Great Temple that night, which could be seen from the Spanish camps. The sacrificed Spaniards were flayed, and their faces – with beards attached – were tanned and sent to allied towns, both to solicit assistance and to warn against betraying the Triple Alliance.


title: Templo Mayor

text: After the fall of Tenochtitlan in 1521, the lands controlled by the Aztecs became part of the Spanish empire. All the temples, including Templo Mayor, were sacked, taking all objects of gold and other precious materials. Cortés, who had ordered the destruction of the existing capital, had a Mediterranean-style city built on the site. Essential elements of the old imperial center, including the Templo Mayor, were buried under similarly key features of the new city in what is now the historical downtown of the Mexico City. The Templo Mayor and Sacred Precinct were demolished and a Spanish church, later the main cathedral, was built on the western half of the precinct.


title: Templo Mayor

text: Fray Toribio de Motolinía, a Spanish friar who arrived to Mexico soon after the invasion, writes in his work "Memoriales" that the Aztec feast of Tlacaxipehualiztli "took place when the sun stood in the middle of [the Temple of] Huitzilopochtli, which was at the equinox". This statement has become very famous, as it is the only textual reference known so far that explicitly relates a Mesoamerican temple with astronomical observations. The measurements in the Templo Mayor confirmed the veracity of this comment. The orientation of stage II, the earliest of the archaeologically attested construction phases, is different from that adopted by stage III and preserved in all subsequent stages. One of the sunset dates corresponding to the east–west axis of the late stages, including the last, is 4 April, which in the Julian calendar of the 16th century was equivalent to 25 March. In 1519, this was the last day of Tlacaxipehualiztli, that is, precisely the day of the feast of the month. Furthermore, 25 March, the Feast of the Annunciation, was in the Middle Ages commonly identified with the vernal equinox. Consequently, Motolinía did not refer to the astronomical equinox (the date of which would have hardly been known to a non-astronomer at that time), but rather only pointed out the correlation between the day of the Mexica festival, which in the last years before the invasion coincided with the solar phenomenon in the Templo Mayor, and the date in the Christian calendar that corresponded to the traditional day of spring equinox.


title: Templo Mayor

text: According to tradition, the Templo Mayor is located on the exact spot where the god Huitzilopochtli gave the Mexica people his sign that they had reached the promised land: an eagle on a nopal cactus with a snake in its mouth.


title: Templo Mayor

text: The Templo Mayor was partially a symbolic representation of the Hill of Coatepec, where according to Mexica myth, Huitzilopochtli was born. Huitzilopochtli emerged from his mother Coatlicue fully grown and fully armed to battle his sister Coyolxauhqui and her brothers the Centzon Huitznahua who intended to kill him and their mother. Huitzilopochtli was victorious, slaying and dismembering his sister. Her body was then thrown to the bottom of the hill. As the southern half of the Great Temple represented Coatepec (on the side dedicated to Huitzilopochtli), the great stone disk with Coyolxauhqui's dismembered body was found at the foot of this side of the temple. The northern half represented Tonacatepetl, the mountain home of Tlaloc.


title: Templo Mayor

text: The sacred ballcourt and skull rack were located at the foot of the stairs of the twin temples, to mimic, like the stone disk, where Huitzilopochtli was said to have placed the goddess' severed head. These locations served as a place for the reenactment of the mythical conflict.


title: Templo Mayor

text: The various levels of the Temple also represent the cosmology of the Aztec world. First of all, it is aligned with the cardinal directions with gates that connect to roads leading in these directions. This indicates the place where the plane of the world that humans live in intersects the thirteen levels of the heavens, called Topan and the nine levels of the underworld, called Mictlan.


title: Templo Mayor

text: Archaeologist Eduardo Matos Moctezuma, in his essay "Symbolism of the Templo Mayor," posits that the orientation of the temple is indicative of the total vision that the Mexica had of the universe (cosmovision). He states that the "principal center, or navel, where the horizontal and vertical planes intersect, that is, the point from which the heavenly or upper plane and the plane of the Underworld begin and the four directions of the universe originate, is the Templo Mayor of Tenochtitlan." Matos Moctezuma supports his supposition by claiming that the temple acts as an embodiment of a living myth where "all sacred power is concentrated and where all the levels intersect." Said myth is the birth and struggle between Huitzilopochtli and Coyolxauhqui.


title: Templo Mayor

text: The Sacred Precinct of the Templo Mayor was surrounded by a wall called the "coatepantli" (serpent wall). Among the most important buildings were the ballcourt, the Calmecac (area for priests), and the temples dedicated to Quetzalcoatl, Tezcatlipoca and the sun. The Templo Mayor itself delineated the eastern side of the Sacred Precinct.


title: Templo Mayor

text: On the sides of the Templo Mayor, archeologists have excavated a number of palatial rooms and conjoining structures. One of the best preserved and most important is the Palace (or House) of the Eagle Warriors. This area dates back to the fourth stage of the temple, around 1469. It was excavated in 1981 and 1982 by José Francisco Hinojosa. It is a large L-shaped room with staircases decorated with sculptures of eagle heads. To enter this main room, one had to pass through an entrance guarded by two large sculpted representations of these warriors. The Eagle Warriors were a privileged class who were dedicated to the god Huitzilopochtli, and dressed to look like eagles. Adjoining this palace is the temple for these warriors—also known as the Red Temple. This temple shows clear Teotihuacan influence in its paintings (mostly in red) and the design of its altar. Almost all the interior walls of the House of the Eagles are decorated with beautiful paintings and contain long benches, which are also painted. These benches are composed of two panels. The upper one is a frieze with undulating serpents in bas-relief. The lower panel shows processions of armed warriors converging on a zacatapayolli, a grass ball into which the Mexica stuck bloody lancets during the ritual of autosacrifice. This palace specifically imitates much of the style of the Burnt Palace, located in the ruins of Tula.


title: Templo Mayor

text: A number of important artifacts have been found in this area, the most important of which are two nearly identical large ceramic sculptures of Mictlantecuhtl, the god of death. Despite being found in fragile pieces, they were both reconstructed and are on display at the on-site museum.


title: Templo Mayor

text: Another conjoining area was dedicated to the Ocelot Warriors. Their temple, dedicated to the god Tezcatlipoca, lies under the current Museo de la Secretaría de Hacienda y Crédito Público to the south of the Templo Mayor.


title: Templo Mayor

text: The Calmecac was a residence hall for priests and a school for future priests, administrators and politicians, where they studied theology, literature, history and astronomy. Its exact location is on one side of what is now Donceles Street. The Temple of Quetzalcoatl was located to the west of the Templo Mayor. It is said that during the equinox, the sun rose between the shrines dedicated to Huitzilopochtli and Tlaloc and shone directly on this temple. Due to the god's serpentine nature, the temple had a circular base instead of a rectangular one.


title: Templo Mayor

text: The ball field, called the tlachtli or teutlachtli, was similar to many sacred ball fields in Mesoamerica. Games were played barefoot, and players used their hips to move a heavy ball to stone rings. The field was located west of the Templo Mayor, near the twin staircases and oriented east–west. Next to this ball field was the "huey tzompanti" where the skulls of sacrifice victims were kept after being covered in stucco and decorated.


title: Templo Mayor

text: The Temple of the Sun was located west of the Templo Mayor also and its remains lie under the Metropolitan Cathedral. The project to shore up the cathedral at the end of the 20th century and beginning of the 21st brought to light a number of artifacts.


title: Templo Mayor

text: Most of the objects found in the Templo Mayor were offerings. Although many are of Mexica design, there are also abundant items from other peoples, brought in as tribute or through trade. Sculptures, flint knives, vessels, beads and other sumptuary ornaments—as well as minerals, plants and animals of all types, and the remains of human sacrifice—were among the items deposited in offerings. All of these fulfilled a specific function within the offering, depending on the symbolism of each object. In excavations at the Templo Mayor, different types of offerings have been found and have been grouped by researchers in terms of Time (the period in which the offering was deposited); Space (the location of the offering within the structure); Container (type and dimensions of the receptacle containing the objects); internal distribution (placement of objects within the offering) and value of the items. The offerings were usually contained in cavities, in stone urns, and in boxes made of slabs. These are found under floors; in platforms, architectural bodies, stairways and in temples. These offerings were placed accompanied by complex rituals following set temporal, spatial and symbolic patterns, depending on the intention of the offering.


title: Templo Mayor

text: The oldest Mexica objects, located in the second temple, are two urns which contain the remains of incinerated bones; one of the urns was made of obsidian and the other of alabaster. A small silver mask and a gold bell were found inside one urn, and second gold bell and two green stone beads were placed in the other.


title: Templo Mayor

text: Images of the gods Huehueteotl-Xiuhtecuhtli, together with Tlaloc, presided over most of the offerings found in the Templo Mayor. Representing fire and water respectively, this pair of deities probably symbolized the concept of "burning water," a metaphor for warfare.


title: Templo Mayor

text: Another theme exhibited in this hall is autosacrifice, a ritual that was conducted in private as a personal act of communication with the gods. Widespread throughout the entire population, this practice was performed by perforating certain fleshy parts of the body—such as the earlobes, lips, tongue, chest, calves, et cetera—with obsidian blades, agave needles or bone perforators. Once the implement was covered with blood, it was inserted in straw balls called Zacatapayoli. The entirety was probably placed in ceremonial boxes—tepetlacalli—as an offering to the gods. Objects associated with human sacrifice are the "face blades" or knives decorated with eyes and teeth, as well as skull masks. Other ceremonial items include musical instruments, jewelry, and braziers for the burning of copal.


title: Templo Mayor

text: The museum of the Templo Mayor was built in 1987 to house the Templo Mayor Project and its finds—a project which continues work to this day. In 1991, the Urban Archeology Program was incorporated as part of the Templo Mayor Project whose mission is to excavate the oldest area of the city, around the main plaza. The museum building was built by architect Pedro Ramírez Vázquez, who envisioned a discreet structure that would blend in with the colonial surroundings. The museum has four floors, three of which are for permanent exhibitions and the fourth houses offices for the director, museum administration and research staff. Other departments are located in the basement, where there is also an auditorium.


title: Templo Mayor

text: The museum has eight main exhibition halls, each dedicated to a different theme. Room 1 is dedicated to the goddesses Coatlicue and Coyolxauhqui, mother and sister to Huitzlipochtli, respectively. Here are displayed the first finds associated with the temple, from the first tentative finds in the 19th century to the discovery of the huge stone disk of Coyolxauhqui, which initiated the Templo Mayor Project.


title: Templo Mayor

text: Room 2 is dedicated to the concepts of ritual and sacrifice in Tenochtitlan. This room contains urns where dignitaries where interred, funerary offerings, as well as objects associated with self and human sacrifice—such as musical instruments, knives and skulls.


title: Templo Mayor

text: Room 3 demonstrates the economics of the Aztec empire in the form of tribute and trade, with examples of finished products and raw materials from many parts of Mesoamerica. Sala 4 is dedicated to the god Huitzilopochtli. His shrine at the temple was the most important and largest. This room contains various images of him as well as offerings. Also located here are the two large ceramic statues of the god Mictlantecuhtli which were found in the House of the Eagle Warriors who were dedicated to Huitzilopochtli.


title: Templo Mayor

text: Room 5 is dedicated to Tlaloc, the other principal deity of the Aztecs and one of the oldest in Mesoamerica. This room contains various images of the god usually worked in green or volcanic stone or in ceramic. The most prized work is a large pot with the god's face in high relief that still preserves much of the original blue paint.


title: Templo Mayor

text: Room 6 is dedicated to the flora and fauna of Mesoamerica at this time, as most contained divine aspects for the Aztecs. Also many of the offerings found at the Templo Mayor were or were made from various plants and animals. Related to Room 6, Room 7 contains exhibits of the agricultural technology of the time, especially in the growing of corn and the construction of "chinampas", the so-called "floating gardens". The last room is Room 8, which is dedicated to the archeology and history of the site.


title: Lunar water

text: Lunar water is water that is present on the Moon. Diffuse water molecules can persist at the Moon's sunlit surface, as discovered by NASA's SOFIA observatory in 2020. Gradually water vapor is decomposed by sunlight, leaving hydrogen and oxygen lost to outer space. Scientists have found water ice in the cold, permanently shadowed craters at the Moon's poles. Water molecules are also present in the extremely thin lunar atmosphere.


title: Lunar water

text: Water (HO), and the chemically related hydroxyl group (-OH), exist in forms chemically bound as hydrates and hydroxides to lunar minerals (rather than free water), and evidence strongly suggests that this is the case in low concentrations as for much of the Moon's surface. In fact, of surface matter, adsorbed water is calculated to exist at trace concentrations of 10 to 1000 parts per million. Inconclusive evidence of free water ice at the lunar poles had accumulated during the second half of the 20th century from a variety of observations suggesting the presence of bound hydrogen.


title: Lunar water

text: On 18 August 1976, the Soviet Luna 24 probe landed at Mare Crisium, took samples from the depths of 118, 143, and 184 cm of the lunar regolith, and then took them to Earth. In February 1978, it was published that laboratory analysis of these samples shown they contained 0.1% water by mass. Spectral measurements shown minima near 3, 5, and 6 µm, distinctive valence-vibration bands for water molecules, with intensities two or three times larger than the noise level.


title: Lunar water

text: On 24 September 2009, it was reported that the NASA's Moon Mineralogy Mapper (M) spectrometer onboard India's "Chandrayaan-1" probe had detected absorption features near 2.8–3.0 μm on the surface of the Moon. On 14 November 2008, India released the Moon Impact Probe onboard Chandrayaan-1 orbiter to impact into the Shackleton crater which helped confirm the presence of water ice. For silicate bodies, such features are typically attributed to hydroxyl- and/or water-bearing materials. In August 2018, NASA confirmed that M showed water ice is present on the surface at the Moon poles. Water was confirmed to be on the sunlit surface of the Moon by NASA on October 26, 2020.


title: Lunar water

text: Water may have been delivered to the Moon over geological timescales by the regular bombardment of water-bearing comets, asteroids, and meteoroids or continuously produced "in situ" by the hydrogen ions (protons) of the solar wind impacting oxygen-bearing minerals.


title: Lunar water

text: The search for the presence of lunar water has attracted considerable attention and motivated several recent lunar missions, largely because of water's usefulness in rendering long-term lunar habitation feasible.


title: Lunar water

text: The possibility of ice in the floors of polar lunar craters was first suggested in 1961 by Caltech researchers Kenneth Watson, Bruce C. Murray, and Harrison Brown. Although trace amounts of water were found in lunar rock samples collected by Apollo astronauts, this was assumed to be a result of contamination, and the majority of the lunar surface was generally assumed to be completely dry. However, a 2008 study of lunar rock samples revealed evidence of water molecules trapped in volcanic glass beads.


title: Lunar water

text: In February 1978 Soviet scientists M. Akhmanova, B. Dement'ev, and M. Markov of the published a paper claiming a detection of water fairly definitively. Their study showed that the samples returned to Earth by the 1976 Soviet probe Luna 24 contained about 0.1% water by mass, as seen in infrared absorption spectroscopy (at about wavelength), at a detection level about 10 times above the threshold.


title: Lunar water

text: A proposed evidence of water ice on the Moon came in 1994 from the United States military "Clementine" probe. In an investigation known as the 'bistatic radar experiment', "Clementine" used its transmitter to beam radio waves into the dark regions of the south pole of the Moon. Echoes of these waves were detected by the large dish antennas of the Deep Space Network on Earth. The magnitude and polarisation of these echoes was consistent with an icy rather than rocky surface, but the results were inconclusive, and their significance has been questioned. Earth-based radar measurements were used to identify the areas that are in permanent shadow and hence have the potential to harbour lunar ice: Estimates of the total extent of shadowed areas poleward of 87.5 degrees latitude are for the north and south poles, respectively. Subsequent computer simulations encompassing additional terrain suggested that an area up to might be in permanent shadow.


title: Lunar water

text: The Lunar Prospector probe, launched in 1998, employed a neutron spectrometer to measure the amount of hydrogen in the lunar regolith near the polar regions. It was able to determine hydrogen abundance and location to within 50 parts per million and detected enhanced hydrogen concentrations at the lunar north and south poles. These were interpreted as indicating significant amounts of water ice trapped in permanently shadowed craters, but could also be due to the presence of the hydroxyl radical (OH) chemically bound to minerals. Based on data from Clementine and Lunar Prospector, NASA scientists have estimated that, if surface water ice is present, the total quantity could be of the order of . In July 1999, at the end of its mission, the Lunar Prospector probe was deliberately crashed into Shoemaker crater, near the Moon's south pole, in the hope that detectable quantities of water would be liberated. However, spectroscopic observations from ground-based telescopes did not reveal the spectral signature of water.


title: Lunar water

text: More suspicions about the existence of water on the Moon were generated by inconclusive data produced by "Cassini–Huygens" mission, which passed the Moon in 1999.


title: Lunar water

text: In 2005, observations of the Moon by the "Deep Impact" spacecraft produced inconclusive spectroscopic data suggestive of water on the Moon. In 2006, observations with the Arecibo planetary radar showed that some of the near-polar "Clementine" radar returns, previously claimed to be indicative of ice, might instead be associated with rocks ejected from young craters. If true, this would indicate that the neutron results from Lunar Prospector were primarily from hydrogen in forms other than ice, such as trapped hydrogen molecules or organics. Nevertheless, the interpretation of the Arecibo data do not exclude the possibility of water ice in permanently shadowed craters. In June 2009, NASA's "Deep Impact" spacecraft, now redesignated EPOXI, made further confirmatory bound hydrogen measurements during another lunar flyby.


title: Lunar water

text: As part of its lunar mapping programme, Japan's Kaguya probe, launched in September 2007 for a 19-month mission, carried out gamma ray spectrometry observations from orbit that can measure the abundances of various elements on the Moon's surface. Japan's Kaguya probe's high resolution imaging sensors failed to detect any signs of water ice in permanently shaded craters around the south pole of the Moon, and it ended its mission by crashing into the lunar surface in order to study the ejecta plume content.


title: Lunar water

text: The People's Republic of China's Chang'e 1 orbiter, launched in October 2007, took the first detailed photographs of some polar areas where ice water is likely to be found.


title: Lunar water

text: India's ISRO spacecraft Chandrayaan-1 released the Moon Impact Probe (MIP) that impacted Shackleton Crater, of the lunar south pole, at 20:31 on 14 November 2008 releasing subsurface debris that was analysed for presence of water ice. During its 25-minute descent, the impact probe's Chandra's Altitudinal Composition Explorer (CHACE) recorded evidence of water in 650 mass spectra gathered in the thin atmosphere above the Moon's surface and hydroxyl absorption lines in reflected sunlight.


title: Lunar water

text: On September 25, 2009, NASA declared that data sent from its M confirmed the existence of hydrogen over large areas of the Moon's surface, albeit in low concentrations and in the form of hydroxyl group (OH) chemically bound to soil. This supports earlier evidence from spectrometers aboard the "Deep Impact" and "Cassini" probes. On the Moon, the feature is seen as a widely distributed absorption that appears strongest at cooler high latitudes and at several fresh feldspathic craters. The general lack of correlation of this feature in sunlit M data with neutron spectrometer H abundance data suggests that the formation and retention of OH and HO is an ongoing surficial process. OH/HO production processes may feed polar cold traps and make the lunar regolith a candidate source of volatiles for human exploration.


title: Lunar water

text: Although M results are consistent with recent findings of other NASA instruments onboard Chandrayaan-1, the discovered water molecules in the Moon's polar regions is not consistent with the presence of thick deposits of nearly pure water ice within a few meters of the lunar surface, but it does not rule out the presence of small (<∼), discrete pieces of ice mixed in with the regolith. Additional analysis with M published in 2018 had provided more direct evidence of water ice near the surface within 20° latitude of both poles. In addition to observing reflected light from the surface, scientists used M's near-infrared absorption capabilities in the permanently shadowed areas of the polar regions to find absorption spectra consistent with ice. At the north pole region, the water ice is scattered in patches, while it is more concentrated in a single body around the south pole. Because these polar regions do not experience the high temperatures (greater than 373 Kelvin), it was postulated that the poles act as cold traps where vaporized water is collected on the Moon.


title: Lunar water

text: In March 2010, it was reported that the Mini-SAR on board Chandrayaan-1 had discovered more than 40 permanently darkened craters near the Moon's north pole that are hypothesized to contain an estimated 600 million metric tonnes of water-ice. The radar's high CPR is not uniquely diagnostic of either roughness or ice; the science team must take into account the environment of the occurrences of high CPR signal to interpret its cause. The ice must be relatively pure and at least a couple of meters thick to give this signature. The estimated amount of water ice potentially present is comparable to the quantity estimated from the previous mission of Lunar Prospector's neutron data.


title: Lunar water

text: On October 9, 2009, the Centaur upper stage of its Atlas V carrier rocket was directed to impact Cabeus crater at 11:31 UTC, followed shortly by the NASA's Lunar Crater Observation and Sensing Satellite (LCROSS) spacecraft that flew through the ejecta plume.


title: Lunar water

text: LCROSS detected a significant amount of hydroxyl group in the material thrown up from a south polar crater by an impactor; this may be attributed to water-bearing materials – what appears to be "near pure crystalline water-ice" mixed in the regolith. What was actually detected was the chemical group hydroxyl (OH), which is suspected to be from water, but could also be hydrates, which are inorganic salts containing chemically bound water molecules. The nature, concentration and distribution of this material requires further analysis; chief mission scientist Anthony Colaprete has stated that the ejecta appears to include a range of fine-grained particulates of near pure crystalline water-ice. A later definitive analysis found the concentration of water to be "5.6 ± 2.9% by mass".


title: Lunar water

text: The Mini-RF instrument on board the "Lunar Reconnaissance Orbiter" (LRO) observed the plume of debris from the impact of the LCROSS orbiter, and it was concluded that the water ice must be in the form of small (< ~10 cm), discrete pieces of ice distributed throughout the regolith, or as thin coating on ice grains. This, coupled with monostatic radar observations, suggest that the water ice present in the permanently shadowed regions of lunar polar craters is unlikely to be present in the form of thick, pure ice deposits.


title: Lunar water

text: The data acquired by the Lunar Exploration Neutron Detector (LEND) instrument onboard LRO show several regions where the epithermal neutron flux from the surface is suppressed, which is indicative of enhanced hydrogen content. Further analysis of LEND data suggests that water content in the polar regions is not directly determined by the illumination conditions of the surface, as illuminated and shadowed regions do not manifest any significant difference in the estimated water content. According to the observations by this instrument alone, "the permanent low surface temperature of the cold traps is not a necessary and sufficient condition for enhancement of water content in the regolith."


title: Lunar water

text: LRO laser altimeter's examination of the Shackleton crater at the lunar south pole suggests up to 22% of the surface of that crater is covered in ice.


title: Lunar water

text: In May 2011, Erik Hauri et al. reported 615-1410 ppm water in melt inclusions in lunar sample 74220, the famous high-titanium "orange glass soil" of volcanic origin collected during the Apollo 17 mission in 1972. The inclusions were formed during explosive eruptions on the Moon approximately 3.7 billion years ago.


title: Lunar water

text: This concentration is comparable with that of magma in Earth's upper mantle. While of considerable selenological interest, this announcement affords little comfort to would-be lunar colonists. The sample originated many kilometers below the surface, and the inclusions are so difficult to access that it took 39 years to detect them with a state-of-the-art ion microprobe instrument.


title: Lunar water

text: In October 2020, astronomers reported detecting molecular water on the sunlit surface of the Moon by several independent scientific teams, including the Stratospheric Observatory for Infrared Astronomy (SOFIA). The estimated abundance is about 100 to 400 ppm, with a distribution over a small latitude range, likely a result of local geology and not a global phenomenon. It was suggested that the detected water is stored within glasses or in voids between grains sheltered from the harsh lunar environment, thus allowing the water to remain on the lunar surface. Using data from the Lunar Reconnaissance Orbiter, it was shown that besides the large, permanently shadowed regions in the Moon's polar regions, there are many unmapped cold traps, substantially augmenting the areas where ice may accumulate. Approximately 10–20% of the permanent cold-trap area for water is found to be contained in "micro cold traps" found in shadows on scales from 1 km to 1 cm, for a total area of ~40,000 km2, about 60% of which is in the South, and a majority of cold traps for water ice are found at latitudes >80° due to permanent shadows.


title: Lunar water

text: October 26, 2020: In a paper published in Nature Astronomy, a team of scientists used SOFIA, an infrared telescope mounted inside a 747 jumbo jet, to make observations that showed unambiguous evidence of water on parts of the Moon where the sun shines. “This discovery reveals that water might be distributed across the lunar surface and not limited to the cold shadowed places near the lunar poles,” Paul Hertz, the director of NASA's astrophysics division, said.


title: Lunar water

text: Lunar IceCube is a 6U cube sat that will estimate amount and composition of lunar ice, using an infrared imaging spectrometer developed by NASAs Goddard Space Flight Center.


title: Lunar water

text: A dedicated on-site experiment by NASA dubbed PRIME-1 is slated to land on the Moon in December, 2022 near Shackleton Crater at the Lunar South Pole. The mission will drill for water ice.


title: Lunar water

text: Slated to launch as a ride-along mission in 2025, the Lunar Trailblazer satellite is part of NASA's Small Innovative Missions for Planetary Exploration (SIMPLEx) program. The satellite carries two instruments—a high-resolution spectrometer, which will detect and map different forms of water, and a thermal mapper. The mission's primary objectives are to characterize the form of lunar water, how much is present and where; determine how lunar volatiles change and move over time; measure how much and what form of water exists in permanently shadowed regions of the Moon; and to assess how differences in the reflectivity and temperature of lunar surfaces affect the concentration of lunar water.


title: Lunar water

text: Lunar water has two potential origins: water-bearing comets (and other bodies) striking the Moon, and "in  situ" production. It has been theorized that the latter may occur when hydrogen ions (protons) in the solar wind chemically combine with the oxygen atoms present in the lunar minerals (oxides, silicates, etc.) to produce small amounts of water trapped in the minerals' crystal lattices or as hydroxyl groups, potential water precursors. (This mineral-bound water, or mineral surface, must not be confused with water ice.)


title: Lunar water

text: The hydroxyl surface groups (X–OH) formed by the reaction of protons (H) with oxygen atoms accessible at oxide surface (X=O) could further be converted in water molecules (HO) adsorbed onto the oxide mineral's surface. The mass balance of a chemical rearrangement supposed at the oxide surface could be schematically written as follows:


title: Lunar water

text: The formation of one water molecule requires the presence of two adjacent hydroxyl groups or a cascade of successive reactions of one oxygen atom with two protons. This could constitute a limiting factor and decreases the probability of water production if the proton density per surface unit is too low.


title: Lunar water

text: Solar radiation would normally strip any free water or water ice from the lunar surface, splitting it into its constituent elements, hydrogen and oxygen, which then escape to space. However, because of the only very slight axial tilt of the Moon's spin axis to the ecliptic plane (1.5 °), some deep craters near the poles never receive any sunlight, and are permanently shadowed (see, for example, Shackleton crater, and Whipple crater). The temperature in these regions never rises above about 100 K (about −170 ° Celsius), and any water that eventually ended up in these craters could remain frozen and stable for extremely long periods of time — perhaps billions of years, depending on the stability of the orientation of the Moon's axis.


title: Lunar water

text: While the ice deposits may be thick, they are most likely mixed with the regolith, possibly in a layered formation.


title: Lunar water

text: Although free water cannot persist in illuminated regions of the Moon, any such water produced there by the action of the solar wind on lunar minerals might, through a process of evaporation and condensation, migrate to permanently cold polar areas and accumulate there as ice, perhaps in addition to any ice brought by comet impacts.


title: Lunar water

text: The hypothetical mechanism of water transport / trapping (if any) remains unknown: indeed lunar surfaces directly exposed to the solar wind where water production occurs are too hot to allow trapping by water condensation (and solar radiation also continuously decomposes water), while no (or much less) water production is expected in the cold areas not directly exposed to the Sun. Given the expected short lifetime of water molecules in illuminated regions, a short transport distance would in principle increase the probability of trapping. In other words, water molecules produced close to a cold, dark polar crater should have the highest probability of surviving and being trapped.


title: Lunar water

text: To what extent, and at what spatial scale, direct proton exchange (protolysis) and proton surface diffusion directly occurring at the naked surface of oxyhydroxide minerals exposed to space vacuum (see surface diffusion and self-ionization of water) could also play a role in the mechanism of the water transfer towards the coldest point is presently unknown and remains a conjecture.


title: Lunar water

text: 4–3.5 billion years ago, the Moon could have had sufficient atmosphere and liquid water on its surface. Warm and pressurized regions in the Moon's interior might still contain liquid water.


title: Lunar water

text: The presence of large quantities of water on the Moon would be an important factor in rendering lunar habitation cost-effective since transporting water (or hydrogen and oxygen) from Earth would be prohibitively expensive. If future investigations find the quantities to be particularly large, water ice could be mined to provide liquid water for drinking and plant propagation, and the water could also be split into hydrogen and oxygen by solar panel-equipped electric power stations or a nuclear generator, providing breathable oxygen as well as the components of rocket fuel. The hydrogen component of the water ice could also be used to draw out the oxides in the lunar soil and harvest even more oxygen.


title: Lunar water

text: Analysis of lunar ice would also provide scientific information about the impact history of the Moon and the abundance of comets and asteroids in the early Inner Solar System.


title: Lunar water

text: The hypothetical discovery of usable quantities of water on the Moon may raise legal questions about who owns the water and who has the right to exploit it. The United Nations Outer Space Treaty does not prevent the exploitation of lunar resources, but does prevent the appropriation of the Moon by individual nations and is generally interpreted as barring countries from claiming ownership of Lunar resources. However most legal experts agree that the ultimate test of the question will arise through precedents of national or private activity.


title: Lunar water

text: The Moon Treaty specifically stipulates that exploitation of lunar resources is to be governed by an "international regime", but that treaty has only been ratified by a few nations, and primarily those with no independent spaceflight capabilities.


title: Lunar water

text: Luxembourg and the US have granted their citizens the right to mine and own space resources, including the resources of the Moon. US President Donald Trump expressly stated that in his Executive Order of 6 April 2020.


title: Lupin III: The First

text: Set during the late 1960s of the Shōwa era, the film follows gentleman thief Arsène Lupin III and his crew to Paris and Brazil to find the whereabouts of the Bresson Diary, a treasure even Lupin's grandfather Arsène Lupin failed to catch. A battle for the mechanical diary is unleashed as a Nazi treasure-hunter group led by Lambert and Geralt are also in a race to steal it, with the prize that whoever deciphers its mystery will be the owners of an enormous fortune.


title: Lupin III: The First

text: "Lupin III: The First" was released to the theaters in Japan on December 6, 2019, distributed by Toho, with a later worldwide release planned for 2020. "" released the film in France on October 7, 2020. GKIDS released the film in North America on October 18, 2020. The film was one of the selections for Annecy as well as the 43rd Japanese Academy Awards.


title: Lupin III: The First

text: The film earned critical acclaim, with praise directed towards its plot, vocal performances, faithfulness towards the source material, and, in particular, the animation. Many felt the series transitioned well into CGI, praising the level of detail and fluidity.


title: Lupin III: The First

text: In German-occupied France, archaeologist Professor Bresson entrusts his heavily trapped diary and an amulet containing the key to the book to his family. The diary is purported to be the guide to an immense treasure called the "Eclipse," which a group of Nazis working for Ahnenerbe is seeking. Bresson is killed by the arriving Germans; his family escapes, but is chased down by Ahnenerbe professor Lambert, and ends up in a car crash which only the infant daughter survives. Lambert steals the amulet, but is unable to find the diary, which was lost during the chase.


title: Lupin III: The First

text: In the 1960s, the diary resurfaces during a memorial exhibition in Bresson's honor. Lupin III tries to steal the book, as his grandfather had unsuccessfully attempted before him, only to be foiled first by a young woman disguised as a security guard, then by Fujiko, and to be arrested by Inspector Zenigata. On his way to prison, Lupin is sprung by his friends Jigen and Goemon and sneaks into the home of the fake security guard, a prospective archeology student named Laetitia Lambert. He presents a medal identical to the one stolen by Lambert, which his grandfather had left him. Laetitia contacts Lambert, her adoptive grandfather who ordered her to steal the book in the first place. Lambert tells her to bring Lupin and the amulet to him, in exchange for sending her to Boston University to study archeology.


title: Lupin III: The First

text: Fujiko delivers the diary to a group of Ahnenerbe fugitives looking for the Eclipse, among them Lambert and their leader Geralt. However, Geralt quickly discovers Fujiko's duplicity and has her detained. Laetitia leads Lupin to Lambert's hideout, a customized transport plane, where they retrieve the book and the counterpart to Lupin's amulet. Lupin succeeds in opening the diary, and the two learn that the Eclipse is a power generator left behind by a highly advanced lost civilisation and is hidden in the ruins of Teotihuacan. Knowing Laetitia has led him into a trap, Lupin willingly surrenders to Geralt and Lambert. Fujiko uses Lupin as a diversion to escape on her own. Lupin sneaks back into the plane and eavesdrops on Geralt and Lambert, learning in the process that they are seeking none other than Adolf Hitler, who reportedly faked his death and escaped to South America during the fall of Berlin, and is now intending to use the Eclipse to resurrect the Third Reich.


title: Lupin III: The First

text: When Laetitia, who has also overheard the conversation, confronts the two men, Geralt throws her out of the plane. Snatching the diary and the amulets back, Lupin jumps after her, and he and Laetitia are then rescued by Fujiko, Jigen and Goemon. Left stranded, Lupin summons Zenigata to his location and steals his Interpol helicopter. Zenigata manages to get back on board, and after learning of the stakes, he teams up with Lupin's gang and Laetitia to thwart the villains. During a stopover, Lupin reveals to Laetitia that he has deduced her to be Bresson's granddaughter and that Lambert adopted her only to get his hands on the diary and the Eclipse. He also discovers that his grandfather had actually helped Bresson find the Eclipse, but afterwards trapped the book to prevent the Eclipse from falling into the wrong hands.


title: Lupin III: The First

text: Geralt and Lambert find the Eclipse's hiding place, but are unable to proceed past its traps without the diary, forcing them to return to where they left Lupin. Exploiting their absence, Lupin's team makes it past the obstacles, but are then forced to discover that their enemies' retreat was merely a ruse to clear the path to the Eclipse. Lambert and Geralt activate the Eclipse, which carries them and Laetitia back to the surface, but Lupin's team intercepts them before they can escape, scuttling Lambert's plane. Lambert uses the Eclipse to get the plane to fly again, and activates a micro black hole to finish off Lupin's team; believing them dead, and drunk with power, he claims the device for himself and incinerates the diary. When he prepares to use the Eclipse to destroy Berlin, Geralt fights him; when Laetitia takes control of the device, Geralt hold a Mauser C96 shoots at her, but Lambert takes the bullet for her and dies. Right afterwards, Geralt receives the news that Hitler has been located and takes the Eclipse and Laetitia to him.


title: Lupin III: The First

text: When Geralt arrives at the Ahnenerbe headquarters, he meets with Hitler and the two depart on the Eclipse to test its capabilities. Left behind, Laetitia discovers that Lupin's gang have beaten Geralt to the base with the help of Zenigata and Interpol, and Lupin has disguised himself as Hitler. Back on the Eclipse, Lupin reveals himself and Geralt attacks him, but Lupin tampers with the Eclipse controls to release a micro black hole directly inside the Eclipse. Geralt is sucked into the hole and perishes, while Lupin barely escapes with a gravity device he kept from the Teotihuacan ruins. After a fond but hasty good-bye to Laetitia - and gifting her with the gravity device and her enrollment into Boston - Lupin and his associates rush to escape Zenigata's ever-zealous attention.


title: Lupin III: The First

text: "This work was completed over a long period of time, supported by the words of Monkey Punch Sensei: "'3DCG Lupin is my dream.'" To express "Lupin" that everyone knows in 3DCG was a very happy and exciting job. Especially with regard to unique movements and facial expressions, I think that the production team's high technical ability and deep love for Lupin have made it attractive compared to overseas masterpieces. It would be great if not only fans but also people who have not touched the work so far can feel that "I like Lupin more" after watching the movie. I sincerely hope that this work "THE FIRST" will serve as a bridge to bring more Japanese stories to the world."


title: Lupin III: The First

text: — Producer Takeshi Ito (Marza Animation Planet)The film was teased by Kiyoshi Kobayashi after the passing of Monkey Punch. Sega Sammy Holdings, the parent company of both TMS Entertainment and Marza Animation Planet also made a tweet later. On June 10, 2019, a Twitter account under the name @lupin_3rd_movie was created showing a poster of a 3D model of Lupin wearing Arsène Lupin's sword-scarred hat. With the tagline, "40 years from the immortal masterpiece "The Castle of Cagliostro"" it was revealed that "Lupin III" will debut in the screens as a 3D character for the first time. It has been twenty three years since a Lupin feature film released to the cinemas ever since in 1996.


title: Lupin III: The First

text: Bringing the eponymous thief into the 3D format was one of Monkey Punch's most cherished goals. The film is dedicated to the memory of Monkey Punch, the creator of "Lupin III", who died on April 11, 2019, before the movie was released. When Monkey Punch saw the preliminary results of the movie he stated, "I’ve been looking forward to a 3DCG Lupin III for a long time. I’ve taken a look at the characters and story: it looks like this Lupin will come packed with new sensations, and I’m getting excited just thinking about how the film will turn out."


title: Lupin III: The First

text: Marza Animation Planet and TMS Entertainment were the animation studios producing the film. On June 10, 2019, the teaser for the movie was released with Lupin sporting the taglines "Well, let's get started" and "It's showtime!" The teaser features a montage of the history of Lupin's adaptations from traditional hand drawn animation to finally the 3D footage. The animation team decided Lupin will wear the red jacket (second anime (1977-1980)). Later on October 1, 2019, the official trailer and poster was released. On November 22, 2019 Toho released the opening title sequence of the film.


title: Lupin III: The First

text: Takashi Yamazaki, one of Japan's leading film animation directors who previously worked for such projects as "", wrote the script and directed the movie. Initially, the director was only writing the screenplay for the movie as a consultant for Marza. The studio was looking for a director and Yamazaki's interest in the film and the creativity warranted nomination for director. Yamazaki was entrusted the "Lupin the Third" franchise. The director noted: "I am really happy to be added to the end of this lineage in a new format called 3DCG." The film was intended to be a segue or a hook from 2D adaptations of the past to the 3D movie.


title: Lupin III: The First

text: Marza Animation made over twelve screenplays and three story reels for the film. The storyboards were detailed with voice actor's voices acting as a reference point. At Marza each script was transferred to a storyboard reel that was critiqued. The weak parts were edited out. Despite the harsh criticism that was mentally grueling moments for the director, the screenplay process by Marza was intended to have a beneficial effect at the end, when the team finally were able to edit out and create a more efficient script.


title: Lupin III: The First

text: Yamazaki in an interviews says the animators were really conscious of the way they drew Lupin. The intended effect was for the viewers and Monkey Punch himself to say they recognize Lupin. The intention was even though it's CG, Lupin will look like 2D Lupin. Previous animators who worked on Lupin were on the sets to verify all the characters were Lupin-like. The film was initially set to be shot Hollywood-style with the characters in a globetrotting adventure. However, the undertaking of such a task in Japan as opposed to Hollywood was noted to be a formidable task. Therefore, the film team went into the route of CGI that can also create an action film.


title: Lupin III: The First

text: The creative team of the Lupin franchise from previous works resumed for this production. For the first time since the stories were serialized as a cartoon in 1967 and in animated television in 1971, the eponymous thief was animated into a 3D figure amidst CGI background. Naoaki Kitajima, producer for the movie stated the movie is a testament to the creative potential of the Japanese people. The animators from Toms Entertainment and Marza Animation Planet intended the movie to serve as a cultural bridge between the different nations of the world, with a story that will be understood by any audience. The script was noted by a review that "bounce from setpiece to setpiece" with comedy used as the primary vehicle of movement throughout the script.


title: Lupin III: The First

text: The script features an adventure with Mesoamerican, Mesopotamian mythology, and Nazi intrigue. The movie was slated to be released in Japan on December 6, 2019, by Toho following a worldwide release schedule during December 16 in France, the birthplace of Lupin's grandfather.


title: Lupin III: The First

text: The original cast that voiced the previous Lupin installments returned including the eponymous Lupin voiced by Kanichi Kurita. Miyuki Sawashiro voiced Fujiko Mine, Daisuke Namikawa voiced Goemon Ishikawa XIII, Kiyoshi Kobayashi voiced Daisuke Jigen and Kōichi Yamadera as Zenigata. New characters appear in the film including Suzu Hirose as Laetitia the heroine archaeologist, Kōtarō Yoshida as archaeologist Lambert, and Tatsuya Fujiwara as Geralt. "GKIDS" announced the English-dub voice cast that will feature the returning voices of Tony Oliver as Lupin III; Richard Epcar as Daisuke Jigen; Lex Lang as Goemon Ishikawa; Michelle Ruff as Fujiko Mine; Doug Erholtz as Koichi Zenigata; Laurie C. Hymes as Laetitia; David Brimmer as Lambert; and Paul Guyet as Geralt.


title: Lupin III: The First

text: On Oct 18, 2019, the movie was presented at the Hibiya Cinema Festival at Tokyo Midtown Hibiya. On Nov 11, 2019 a preview was held at Toho Cinemas Roppongi Hills theater. On December 6, 2019, the movie debuted at Toho Cinemas in Hibiya, Tokyo where a stage greeting of cast was held that included Kiyoshi Kobayashi who previously voiced Daisuke Jigen. The success of the film spurred new distributions in North America. In March 2019 GKIDS who specializes in distributing Japanese classics to North America agreed to distribute the movie in 2020. COVID-19 delayed the launch of the movie in North America by several months. In September 2020, "GKIDS" officially released a statement that the film will launch in North America on October 18, 2020.


title: Lupin III: The First

text: Of all the tones found in the Lupin franchise, director Yamazaki found the tone in "The Castle of Cagliostro" as the best portrayal for the 3D film. Yamazaki was profoundly moved by "The Castle of Cagliostro" ever since he saw the film on TV in the 1980s. The experience entrenched in himself the idea that Japan can make high-quality films. The moment influenced the direction for the current film. Therefore, the movie is constructed around the model of "Cagliostro" with many homages added. The ending's emotional climax is similar to the climax in "Cagliostro". However, the director emphasized the film isn't a complete duplicate of the film, and has some different alterations to the "damsel-in-distress" character, with elements of drama added in.


title: Lupin III: The First

text: The script did not veer far from the themes of the canon. The familiar traits of Lupin and the stories are presented, such as Lupin announcing his heists to the police before it is put into action. The script revolves around the treasure-hunting scheme, where the protagonists go off to different locales of the world, including Paris, Mexico, and Brazil to uncover the secret of the Bresson Diary. The atmosphere of the locales is intended to be evocative of the post-war French-Belgian era, especially found in the comic book series bandes dessinées.


title: Lupin III: The First

text: French animators were present in the studio to help with the depiction of such sequences. The film was intended to be an ancestral historical flashback film, highlighted by the nostalgic segue into the times of grandfather Arsène Lupin, as Lupin tries to follow in his grandfather's footsteps in Paris, France. The theme of family reunion is also emphasized with side character Laetitia's story line. The character must also comprehend her own family's connection with the Bresson diary and ultimately the Ahnenerbe.


title: Lupin III: The First

text: The film was noted by reviews for its theme of honor in thievery. Laetitia depicted as a student of archaeology is juxtaposed with Lupin as a thief. Laetitia would never think of stealing from history, unlike Lupin. A review stated, the film could have developed this potential juxtaposition even more. Another review found the depiction of Lupin as an honorable gentleman thief is exemplary and is a parallel to the theme in "The Castle of Cagliostro". Yamazaki stated, the film's appeal is how a thief despite their reputation is depicted as a charismatic hero thief who helps out a girl who has no freedom. The help is featured when Lupin will pave the way for Laetitia to attend a school she always wished to enroll in.


title: Lupin III: The First

text: The plot drew inspiration from real-world history such as the artifact in question being one of the primary targets for the Nazis during World War II. The creators of the film wanted to evoke realistic adventure thriller elements into the film without resorting to placing the setting in a fictitious setting. Therefore, the film has considerable "007 James Bond" themes present. A "Collider" review stated Lupin is to Japan what Bond is to Britain. Interviews found parallels between the film and "The Adventures of Tintin". Due to the fact that adaptation is in Lupin's culture, the "Collider" review highlighted the film's ability to reinvent new plots instead of duplicating the past materials.


title: Lupin III: The First

text: The film was intended to be a highlight of the Japanese cinema industry during the new era of the Reiwa. However, the film will continue to depict the stories during the nostalgic Shōwa period with the use of technology in the film depicting airplanes used during World War II or the Fiat 500. The time was set in the later half of the 1960s. The film will use archaeological references within a heist, mystery genre.


title: Lupin III: The First

text: The film depicted Lupin and his crew face off against Lambert, a researcher of a secret organization that later reveals to be the elite archaeological group of Germany- Ahnenerbe. The archaeological aspect is enlivened by the heroine Leticia as an archaeologist girl expert. The film explains how the logic of archaeology is used to decipher the mystery.


title: Lupin III: The First

text: British luxury apparel brand Dunhill launched a campaign in recognition of the release of the movie by featuring the key characters wearing Dunhill AW19 runway collection pieces. Lupin III wears pieces from the Walnut Dash capsule inspired by vintage British car interiors of the 1970s and 1980s; Jigen wears pinstripe suit with trilby hats inspired by English country dressing; and Goemon the samurai wears a kimono-style topcoat. Nippon Television hosted a telethon from November 29 featuring the TV adaptations of "Lupin the Third".


title: Lupin III: The First

text: Fiat had a special promotion with the Lupin team since one of the iconic car chases involve a Fiat 500. Darts company collaborated with the movie makers to distribute a limited edition Lupin-themed dartboard. Seafood specialty store Fukuya promoted the movie in their lineup of seafood brands. The DVD was released with the movie's clockwork motif of the Bresson Diary as the cover. The deluxe Blu-ray will include a special "Bresson Diary" type edition and a booklet of approximately 100 pages. French animation magazine "Animascope", printed their first issue, featuring the character Lupin from the film, in its front cover.


title: Lupin III: The First

text: The movie became one of the earliest examples of Japanese 3D CGI content, which is still at a development stage compared to the established and mainstream 2D anime industry. The director explained creating 3DCGI content from Japanese 2D animation is a sophisticated transition that needs to find the right medium. If the translation is done with intricate details, the output will look completely different from what is intended. The director however explained 3D animation still has potential in Japan.


title: Lupin III: The First

text: There was increased attention whether Lupin can survive a CGI reboot from 2D. Yamasaki cleared the distinction between hand-drawn 2D and 3D in an interview. For the director, CG tends to see more action. The director agreed both media should be taken into account by the spirit of their drawing. The animation team used the concepts of 3D animation to create the illusion the film is drawn in traditional 2D animation.


title: Lupin III: The First

text: In terms of animation in comparison to Hollywood and Japan animation industry, the laser chamber episode specifically is an example of where Japan excels in live-action shots reconstructed in 3DCG. The episode made the film one of the series' most prolific visual onscreen performances of Lupin that match the rooftop leap sequences in "Cagliostro". Although the movie's new medium was appealing, some reviewers still were nostalgic for the 2D animation and its watercolor drawings.


title: Lupin III: The First

text: The animation team workflow was noted for its efficient management and where budget was constrained such as during the lighting effects, they adapted with new techniques. Before the production, a test sequence was created such as the action sequences where Lupin competes for the treasure via parkour atop the rooftops of Paris or the drama scene in the heroine's room. By creating a test sequence in the same flow as the actual production, the producers can evaluate the quality before declaring the final image. The animation tried to incorporate the landscapes, the environment, culture, languages, and history of the 1960s in which the movie is set. Real-world elements were drawn including Nissin Cup Noodle brand when the Lupin and the crew are transporting a fugitive in a vehicle.


title: Lupin III: The First

text: A car chase scene was presented with the famous Fiat 500 witnessing a comeback. This episode was a homage to the "Castle of Caglistro". The Fiat finds itself in a police chase that also depicts vintage cars namely Japan-only Nissan Cedrics. The animation team presented the nimble capabilities of the small car in a chase. The 3D aspect of the chase was supplemented by sound of tire squeaking, braking sound, and running sound like an "acrobatic running style." The action sequences, such as the car chase and airplane dog fight were pre-made in 3D. Takaaki Kise was in charge for the production of those scenes.


title: Lupin III: The First

text: The character development team unraveled an archive of Lupin statues from earlier productions to find the best representation for this film. ZBrush was then used to create three different 3D sculptures of Lupin, of which one was selected after a vote. The riggers were noted for their dedication in selecting the different expressions for the 3D figures. Facial expressions of the characters took considerable time in production that took around eight months. The animators presented the characters in CGI depiction without going into the further ends of photo realistic expressions. Motion-capture was considered as the final animation medium but full animation was chosen because it will present the world with sharpness to the artistry and general richness. The animators sought a delicate balance of comical cartoonish expressions and human-like movements.


title: Lupin III: The First

text: The dimensions of the characters also were a challenge. Lupin's facial rig used mGear and Maya's SoftMod deformer. Animation started when a rough draft of a storyboard is drawn by hand. Then the episode is shot connecting it with music and dialogue with a final version completed as a story reel. The episode where the Eclipse, a climactic orb of energy spirals into the air was delicately drawn by veteran animator Kazuhide Tomonaga. Houdini was the animation tool used to convert that episode from 2D story board to 3D. Pre-visualization took many takes with the layers of smoke around the sphere adjusted by animator lighting supervisor Satoshi Tomatsu.


title: Lupin III: The First

text: On November 12, 2019 Yuji Ohno released the soundtrack of the movie with 61 songs. "You & Explosion Band" conducted the music while the theme song "Gift" was sung by guest vocalist Lyn Inaizumi () and lyrics written by Yoshiki Mizuno (). Ohno who has previously worked for many Lupin installments was asked to bring back the nostalgic Shōwa post-war era jazz compositions familiar in such theme songs as "Fire Treasure" ("Hinoo no Takaramono") in "Castle of Cagliostro". As a result, "Gift" was rendered that combined with the rest of the soundtrack to create a jazz score.


title: Lupin III: The First

text: Philippines film distributor "Pioneer Films" () revealed it will open "Lupin III THE FIRST" in the Philippines on January 29, 2020. Thai film distributor "M Pictures" agreed to distribute the movie on February 27, 2020, after releasing a Thai-dubbed trailer. In May 2020 the film released to the South Korean audience. The movie was released on May 15, 2020, in Spain. "Sato Company" will release the movie in Brazil in 2020. In Italy, during February 19, 2020 a special Yellow Carpet event commenced at The Space Odeon() in Milan. The event featured promotional events by Fiat as the Abarth 595 model was displayed. "Anime Factory" of "Koch Media Italia" agreed to release the movie on February 27, 2020. However COVID-19 temporarily halted any new releases in Italy. In September 2020, the film was released in Italy through VOD service. At the 2020 Annecy, the movie was presented in digital format. Although initially stated that the movie will be released in France on December 16, 2020, via "Eurozoom" (), the release date has been pushed back earlier to October 7, 2020, with promotional material featuring a new French poster. Mexico released the film on October 15, 2020.


title: Lupin III: The First

text: GKIDS agreed to a theatrical release in North America in the latter months of 2020. On September 22, 2020, "GKIDS" released the teaser for the English dubbed release of "Lupin III: The First." The film was confirmed to be run in select North American theaters from October 18, 2020. The subtitled version, featuring the original Japanese voice cast, arrived later on October 21, 2020. Fathom Events distributed the film to U.S. theaters on behalf of GKIDS.


title: Lupin III: The First

text: The Blu-ray and DVD of the movie released in Japan on June 3, 2020. A deluxe Blu-ray edition was released with a cover in the style of the Bresson Diary. The edition included a 100-page Bresson Diary-style booklet. From "GKIDS" and "Shout! Factory" the winter DVD release commenced on December 15 as a Digital HD version. Following on January 12, 2021, the Blu-ray + DVD combo pack released. A steelbook edition of the Blu-ray combo was also manufactured, with an additional limited edition offer of a 18x24<nowiki>"</nowiki> lithograph while supplies last. A limited release re-run of the film distributed by "GKIDS" ran on 29 and 31 August 2021.


title: Lupin III: The First

text: According to Pia movie ranking survey company from Japan, "Lupin III: The First" was ranked number one in movie satisfaction of all the releases on Friday, December 6 and Saturday, December 7, 2019. Japanese reviews were positive toward the film.


title: Lupin III: The First

text: A review at "Gizmodo" says: "Toho keeps the animation quality high in this work as well, and is a perfect blend of the stylistic beauty of the Lupin series and the clear and accurate visual that is one of the greatest advantages of CG." "Cinematoday"() of Japan remarked the innovations from 2D animation adaptation is still present in this film: "In this work, the royal road style that incorporates elements such as bold actions, mystery solving, and the reversal that are the charm of the series is present. As for characters, while taking advantage of 3DCG such as three-dimensional action, the appeal of hand-drawn animation has been inherited for movement and facial expressions. As "THE FIRST", "Lupin the 3rd: The First" in its 3DCG animation commemorates the entry of a new era in the "Lupin" series."


title: Lupin III: The First

text: Shiraishi of "Real Sound" () explains the 3D was "realistic" and the "animation stands out." The review explains the nostalgic themes present in the Lupin franchise such as "big jumps from roof to roof, the car chase in the familiar yellow car" all evoke the old Lupin despite the transition from 2D to 3D: "the Lupin gang remains the same." The review also noted its references to media and geography such as, "A careful copy of Paris in the first half of the 1960s, the remnants of the Nazi Germany." Naoko Hosoda for "Mantan" reviewed the film has rare glimpses of Miyazaki's Lupin. The animation for the eyes were particularly noted for its clarity: "Lupin's eyes staring at Leticia are also gentle." In conclusion, the movie's action is at the scale of Hollywood by stating: "the action is truly 3DCG, and the speed and scale of the Hollywood movie are eye-catching." "The Japan Times" stated, "A scene of Lupin and Laetitia sparring on a Parisian rooftop is so delightful, I wish it had gone on for longer; ditto a skydiving sequence that suggests the director has been cribbing from Kathryn Bigelow's '90s surfer caper, "Point Break"."


title: Lupin III: The First

text: "Ungeek" stated, "In fact, seeing the film feels like watching a movie-length classic Lupin III episode, in the best way possible!"


title: Lupin III: The First

text: Italian reviews marveled at the cinema whose franchise has been broadcast in Italy since 1979. "Cinematik" stated the movie's title "The First" is apt because of many reasons: "First, it is the first feature film made in CG; also it is the first film without the great master Monkey Punch. Finally, in this new adventure our Lupin III will try to get his hands on the Diary of Bresson, the only treasure that the famous grandfather Arsenio Lupin (I) never managed to steal. An adventure to which the famous thief has often accustomed us, made up of deceptions, breathtaking escapes, ancient mysteries to be solved, science fiction inventions, and secret organizations of the Nazi mold." "Madmass" magazine with a four stars stated: ""Lupin III - the First" is technically superlative, an authentic enchantment for the eyes in which each sequence of frames appears a painting in bright colors. The emotional aspect is no less heart-pounding, spectacular and photorealistic action sequences, experienced both at full speed and in slow motion: in the middle of traffic, in the desert, or on board the yellow Fiat 500 of the Lupin gang."


title: Lupin III: The First

text: Marco Tedesco of "Il.Cineocchio" marveled at the limitless plots that can be created from the world stating, "Even in such an indistinct setting, however, it is capable of giving birth to stories that can push the viewer to doubt what is possible in this world."


title: Lupin III: The First

text: French review by Caroline at the Annecy stated the charm of the characters is present because it is a right mixture of cartoonish and photorealistic characters: "Far from looking for hyper-realistic effects that would have made Lupin III and his band difficult to recognize, the animation has fun playing with the laws of physics and frees itself from the constraints of anatomy. We recognize him by his corner smile of course, but we find him especially in his fluid and elastic movements so characteristic, which are quite respected." Tasha Robinson's review for Polygon found many parallels to "The Castle of Cagliostro" and believed, "But while the newest film in the series may never replace "Castle of Cagliostro", they make a fine double feature."


title: Lupin III: The First

text: On review aggregator Rotten Tomatoes, of critics have given the film a positive review, with an average score of 7/10. The site's critical consensus reads, "Featuring visually striking CGI animation of its famed characters, "Lupin III:The First" is a charming and old-fashioned adventure romp." Matt Schley of "IGN" reviews stated "With the new visual style, the detailed textures of the film’s vehicles, clothing and other objects practically pop off the screen. Rather than total realism, Yamazaki seems to be aiming for something more cartoon-like, and some of the best shots almost look like fluid claymation. Lupin has always been about gravity-defying leaps and bounds, and this animation style fits perfectly. When jumping around the screen, Lupin’s body warps and stretches — not to the point where he loses all sense of weight, but just enough so he remains distinctly Lupin."


title: Lupin III: The First

text: "Variety" review by Maggie Lee highlighted the movie stayed to its roots: "Setting this film in the early ’60s not only plays to his strengths, but also preserves the ambience of the original in architectural, vehicular, and panoramic designs, emulating the intense and vibrant color schemes of post-war French-Belgian bandes dessinées." In terms of animation the review stated: "A grand entrance is staged in elegant, showstopping style, from chandelier gymnastics to a rooftop chase, all with breathless balletic grace that also reveals period Parisian cityscapes in romantic splendor." The final verdict was: "This lavish, technically polished animated caper featuring the beloved gentleman thief of Japanese manga delivers high-octane entertainment but plays safe with the canon."


title: Lupin III: The First

text: It was released on December 6, 2019, in Japan, ranking #2 in its opening weekend grossing 307,395,900 yen (about US$2.82 million) only behind "Frozen II". In the second week the film collected $5.45 million in ten days. By January 2020, the movie had earned 1 billion yen. The film has earned a cumulative total of 1.16 billion yen (~$11 million).


title: Lupin III: The First

text: The US Blu-ray release of the film peaked at #3 on the Top Ten Blu-ray Sellers for Week Ending 1/16/21. "Lupin III: The First" sold 38% as many units as the #1 film on the list "Tenet", along with a HD share of 96%.


title: The Ballroom Blitz

text: "The Ballroom Blitz" (often called "Ballroom Blitz") is a song by British glam rock band The Sweet, written by Nicky Chinn and Mike Chapman. The song reached number one in Canada, number two in the UK Singles Chart and the Australian Chart, and number five on the US "Billboard" Hot 100. It remains an enduring favourite with close to 30,000,000 streams on YouTube.


title: The Ballroom Blitz

text: "The Ballroom Blitz" was inspired by an incident on 27 January 1973 when the band were performing at the Grand Hall in Kilmarnock, Scotland, and were driven offstage by a bottling.


title: The Ballroom Blitz

text: The song was recorded at Audio International Studio, 18 Rodmarton Street, London, and released as a single in September 1973.


title: The Ballroom Blitz

text: The song appeared on the US and Canadian versions of "Desolation Boulevard" but never appeared on a Sweet album in the UK, other than hits compilations.


title: The Ballroom Blitz

text: The initial guitar and drum riff of the song has similarity to a 1963 song by Bobby Comstock called "Let's Stomp".


title: The Ballroom Blitz

text: An early cover of "The Ballroom Blitz" was by the Les Humphries Singers in 1974, the first German single to reach #1 in New Zealand. In 1979, the song was covered by the Damned, which featured Lemmy from Motörhead on bass guitar. It was released as a B-side to "I Just Can't Be Happy Today" and featured as a bonus track on their CD reissue of "Machine Gun Etiquette". Other covers include Krokus in 1984, the Surf Punks on their 1988 album "Oh No! Not Them Again" (in the lyrics jacket it just says, "You should know the words by now"), Japanese glam rock band Scanch on their 1991 album "Ultra Romantic Bombers for Unlimited Lovers" under the title of "R&R Dynamite Kyoujidai", thrash metal band Nuclear Assault on their 1991 album "Out of Order", Tia Carrere featuring a back track featuring Tommy Nickerson on the soundtrack to "Wayne's World" in 1992, and Christian rock band Calibretto 13 on their album "Enter the Danger Brigade" in 2000. In 2016, The Struts recorded it for the soundtrack of film "The Edge of Seventeen". In 2021, White Denim published a cover of The Ballroom Blitz via Dropbox.


title: SZA discography

text: American R&B singer SZA has released two studio albums, three extended plays (EPs), and 16 singles. In October 2012, SZA self-released her debut EP titled "See.SZA.Run", which she then followed up with her second EP, titled "S", in April 2013. In July 2013, it was revealed that she had signed to the hip hop record label Top Dawg Entertainment, through which she released "Z", her third EP and first retail release, in April 2014.


title: SZA discography

text: SZA's debut studio album "Ctrl" was released June 9, 2017. It was supported by the singles "Drew Barrymore", "Love Galore", "The Weekend" and "Broken Clocks", two of which charted in the top 40 of the "Billboard" Hot 100 and became double platinum-certified by the Recording Industry Association of America (RIAA). The album also debuted at number three on the "Billboard" 200 and earned SZA five Grammy Award nominations.


title: Ancient Egyptian afterlife beliefs

text: Ancient Egyptian afterlife beliefs were centered around a variety of complex rituals that were influenced by many aspects of Egyptian culture. Religion was a major contributor, since it was an important social practice that bound all Egyptians together. For instance, many of the Egyptian gods played roles in guiding the souls of the dead through the afterlife. With the evolution of writing, religious ideals were recorded and quickly spread throughout the Egyptian community. The solidification and commencement of these doctrines were formed in the creation of afterlife texts which illustrated and explained what the dead would need to know in order to complete the journey safely.


title: Ancient Egyptian afterlife beliefs

text: Egyptian religious doctrines included three afterlife ideologies: belief in an underworld, eternal life, and rebirth of the soul. The underworld, also known as the Duat, had only one entrance that could be reached by traveling through the tomb of the deceased. The initial image a soul would be presented with upon entering this realm was a corridor lined with an array of fascinating statues, including a variation of the hawk-headed god, Horus. The path taken to the underworld may have varied between kings and common people. After entry, spirits were presented to another prominent god, Osiris. Osiris would determine the virtue of the deceased's soul and grant those deemed deserving a peaceful afterlife. The Egyptian concept of 'eternal life' was often seen as being reborn indefinitely. Therefore, the souls who had lived their life elegantly were guided to Osiris to be born again.


title: Ancient Egyptian afterlife beliefs

text: In order to achieve the ideal afterlife, many practices had to be performed during one's life. This may have included acting justly and following the beliefs of Egyptian creed. Additionally, the Egyptians stressed the rituals completed after an individual's life has ended. In other words, it was the responsibility of the living to carry out the final traditions required so the dead could promptly meet their final fate. Ultimately, maintaining high religious morals by both the living and the dead, as well as complying to a variety of traditions, guaranteed the deceased a smoother transition into the underworld.


title: Ancient Egyptian afterlife beliefs

text: There were many challenges the dead had to face before they were able to enter into the final stages of the afterlife. However, through the support of the living, the dead had access to the protection and knowledge they would need to be reborn in the netherworld.


title: Ancient Egyptian afterlife beliefs

text: The design and scale of Egyptian burial tombs varied from period to period, even though their function remained the same. While most tombs were built during the lifetime of the person it was meant for, Egyptian tombs were constructed to house the body of the dead, but also functioned to transmit the soul to the underworld. Most of what was found in a tomb depended on the status of the person buried within it. However, in order to assist the dead, most tombs were decorated with texts meant to help guide the deceased's soul to the afterlife, something that was attainable to all.


title: Ancient Egyptian afterlife beliefs

text: Throughout the centuries, the Egyptian people decorated their tombs and coffins with religious spells and texts hoping to help the dead in the afterlife. As Egyptian culture developed, these texts also evolved and became more complex and extensive in nature.


title: Ancient Egyptian afterlife beliefs

text: The Pyramid Texts were the first religious spells to be carved into the walls of royal ancient Egyptian pyramids. Beginning in the Old Kingdom period, these texts were used exclusively by the Egyptian pharaohs to decorate the walls of their tombs. However, Egyptian Queens and high-ranking government officials soon began to use Pyramid Texts in their burial tombs as well. The purpose of these texts were to help the pharaoh successfully complete his journey through the afterlife, by conveying knowledge to the deceased about the paths he should take and the dangers he might face along the way.


title: Ancient Egyptian afterlife beliefs

text: In the Middle Kingdom period the Pyramid Texts were replaced by the Coffin Texts. The Coffin Texts were spells that were inscribed into the coffins of the dead. They were meant to protect the deceased in the afterlife and provide them with the transformation magic they would need along their journey. These Coffin Texts were generally more attainable, providing the common people of Egypt the opportunity to attain a proper afterlife. It is also important to note that the collection of Coffin Texts known as The Book of Two Ways functioned as the earliest manual to the afterlife.


title: Ancient Egyptian afterlife beliefs

text: The Book of the Dead was an extensive collection of spells that included material from both the Pyramid Texts and the Coffin Texts. In the New Kingdom period, the Book of the Dead was normally recorded on papyrus. However, it could also be found on the tomb walls, coffins and the wrappings of mummies. Like the Coffin Texts, the spells illustrated within the Book of the Dead were used by everyone. These spells offered advice, protection and knowledge to the dead as they journeyed through the netherworld.


title: Ancient Egyptian afterlife beliefs

text: The Books of the Netherworld contained multiple texts that provided the deceased with a description of the underworld and served as a guide to help the dead during their final journey. Since the deceased were often seen replicating the rebirth cycle of Ra as they traveled through the afterlife, these texts primarily focused on the second half of the sun god's journey, which took him through the underworld at night. The earlier Books of the Netherworld, which include the Amduat and the Book of Gates, divided their narratives into twelve parts, symbolizing the twelve hours the sun god spent in the underworld. Later books such as the Book of Caverns and the Book of the Earth used a more sectionalized approach when presenting their narratives. All of these books also contained complex illustrations of the netherworld, which could often be seen etched into coffins and the walls of burial tombs.


title: Ancient Egyptian afterlife beliefs

text: The Books of Sky consisted of three afterlife texts titled, the Book of Nut, the Book of Day and the Book of Night. Carved into the ceiling of tombs these texts emphasized the role the goddess Nut played in the Egyptian afterlife.


title: Ancient Egyptian afterlife beliefs

text: Coffins in Egyptian culture date back to the Old Kingdom. During this era, coffins were relatively simple; they were equilateral makings with minor details. These included three openings, one that the Ka was intended to pass through and two that represented eyes. However, as time passed coffins and their structures evolved. By the New Kingdom, coffins had not only become more popular around the area but were distributed for sale. The deceased's body was now represented by the coffin as it held a shape and was decorated with features that resembled the individual inside it. The deceased were also often depicted in white clothes, because it represented the soul's purity after it had passed through judgement, in the Hall of Maat. Additionally, the orientation of the deceased was very important to ancient Egyptians. In early periods, the body would have laid promptly on their side with their head directed to the south. This later shifted and with the body flat on its back, the north became a more favorable position for the dead's head to lie.


title: Ancient Egyptian afterlife beliefs

text: Mummification was a practice that the ancient Egyptians adopted because they believed that the body needed to be preserved in order for the dead to be reborn in the afterlife. Initially, Egyptians thought that like Ra, their physical bodies, or Khat, would reawaken after they completed their journey through the underworld. Once the Egyptians realized that the bodies of their dead would eventually decay, they started to see the remains of the dead as a vessel for the deceased's spirit. The body was dismembered and wrapped in bandages to safeguard it, if the soul decided to return.


title: Ancient Egyptian afterlife beliefs

text: Many Egyptians considered the tomb to be a home for the dead, so it was customary to leave offerings near the body of the deceased. Egyptians believed that even after death, one's spirit would live on because the life force was a separate entity that could detach itself from the body. This life force was named the "Ka", and was considered to be one part of what the Egyptian believed to be the immortal soul. The "Ba" was another part of the soul that had increased mobility and dwelled within the Ka. Offerings that were left for the dead included clothing and valuable ornaments; the most important offering, however, was food, because even though the Ka was separated from the body, it could still starve.


title: Ancient Egyptian afterlife beliefs

text: Ancient Egyptians theorized the passage to the afterlife in a series of stages. The first phase was believed to encompass the vehicle of transportation, which would eventually direct their departed souls to immortality. Individuals were subjected to a multitude of passages; but the choice of route was not theirs, it was dependent on their status. The aspect that was most universally influential in determining what passage was taken was one's position among their leaders. Despite the differences between voyagers, beliefs concerning the afterlife were highly reliant on religious ideologies. For example, early people often used religion to understand, as well as relate to, natural occurrences since science had not yet defined everyday incidents. To demonstrate, there was no justification for the sun's orbit, so religious myths redefined and answered the questions prehistoric people had. Yet, since natural incidents were explained by religious beliefs, other realms of creed mimicked the natural patterns of life. For instance, the general ideology associated with the path to the underworld was believed that as night overshadowed the land, the deceased would begin their journey. And with the rising of the sun, a new day was not only thought to have begun, but a new life as well.


title: Ancient Egyptian afterlife beliefs

text: Boat passages to the underworld were strictly reserved for pharaohs who had died. The Egyptian sun god, Ra, was believed to travel to the underworld by boat as the sun set. As a way to mimic Ra's daily expedition, the ancient people of Egypt would construct model boats, ranging in many sizes in which they would bury alongside their pharaohs. For example, next to the Pyramid of Khufu, researchers uncovered Khufu ship, a boat the size of traditional ships, which displayed not only the extreme devotion Egyptians had for their leader, but their dedication to obtaining eternity for all. In other words, a great deal of the requirements for the deceased to properly reach the underworld rested on the living. In order for the pharaoh to arrive at his final destination, his people had to construct a variety of boats to ensure his departure. As a result, communities had to come together to support each other, otherwise their perspective of immortality, as well as their beliefs, would end indefinitely. Therefore, commitment to helping others achieve eternity was a vital component to Egyptian culture, as demonstrated by the gallant boats buried with their rulers.


title: Ancient Egyptian afterlife beliefs

text: Additionally, an alternate vehicle for entrance to the underworld was the coffin. While kings often used coffins in addition to, or in substitution of the boat belief, everyday citizens had less choice. Therefore, this method was more universal while alluding to a different, more frequent path of entry. To compare, while passages by boat directed the deceased to the sun god Ra, coffins were thought to guide individuals to the sky goddess Nut. Each coffin was uniquely attributed to the person who rested in it. In other words, every coffin was subject to a variety of interpretations, all of which were intended to promote the deceased in obtaining eternity.


title: Ancient Egyptian afterlife beliefs

text: However, not all who died were presented with the opportunity to travel to the underworld. Since the living were obligated to ensure that the deceased could travel to the afterlife, it was also in their control to eliminate one's chance in achieving eternity. Therefore, the living had an array of options that prevented a second life to an unworthy individual who had died. The most famous included decapitation, which when executed, "killed a person twice". As a result, the second death associated with decapitation was also assumed to have annihilated the chance at another life. As noted in Egyptian texts, this instance was incredibly feared, but happened most often to those who rebelled or disobeyed the king.


title: Ancient Egyptian afterlife beliefs

text: To the ancient Egyptians, the judgment of the dead was the process that allowed the Egyptian gods to judge the worthiness of the souls of the deceased. Deeply rooted in the Egyptian belief of immortality, judgment was one of the most important parts of the journey through the afterlife. As such, many variations of judgment scenes appear in the Egyptian afterlife texts. Each soul that entered the afterlife was handled individually during judgment. Once the deceased finished their journey through the underworld, they arrived at the Hall of Maat. Here their purity would be the determining factor in whether they would be allowed to enter the Kingdom of Osiris.


title: Ancient Egyptian afterlife beliefs

text: The deceased's first task was to correctly address each of the forty-two Assessors of Maat by name, while reciting the sins they did not commit during their lifetime. This process allowed the dead to demonstrate that they knew each of the judges’ names or Ren and established that they were pure, and free of sin. After confirming that they were sinless, the deceased was presented with the balance that was used to weigh their heart against the feather of Maat. Anubis was the god often seen administering this test. If the deceased's heart balanced with the feather of Maat, Thoth would record the result and they would be presented to Osiris, who admitted them into the Sekhet-Aaru. However, if their heart was heavier than the feather, it was to be devoured by the Goddess Ammit, permanently destroying the soul of the deceased.


title: Ancient Egyptian afterlife beliefs

text: There were numerous ways for Egyptians to secure their fate. Many of the actions Egyptian people took after death were to influence the god's decision in allowing for another life.


title: Ancient Egyptian afterlife beliefs

text: After judgement, entities were thought to return to the Mother Goddess' womb. During this stage, the soul meets its former body that is restored. To demonstrate, in the Book of Dead there is a series of lines that read as follows, "I unite your limbs, I hold your discharges together, I surround your flesh, I drive away the fluids of your decay, I sweep away your "b3w", I wipe away your tears, I heal all your limbs, each being united with the other; I surround you with the work of the weaving goddess, I complete you and form you as Re." The belief continues as the nude being approaches the Goddess and enters her womb as her son. To compare, this dogma is deeply related to the birth of the sun god Ra, who enters the goddess's womb every night, and is reborn as the sun rises. Ra's relation to the afterlife is very connected through the religious components that justify the rising and setting of the sun.


title: Ancient Egyptian afterlife beliefs

text: Ultimately, the immortality desired by ancient Egyptians was reflected in endless lives. By doing worthy deeds in their current life, they would be granted a second life for all of eternity.


title: Ancient Egyptian afterlife beliefs

text: According to Egyptologist Kathlyn M. Cooney, ancient Egyptian women were forced to redefine their gender by encompassing more masculine features. Osiris, who was the ultimate ruler of the underworld, was applauded for his incredible superiority as a result of his virility. Additionally, the overall theme associated with gods connected their male attributes to resurrection, and goddesses were much more vigilant. This ideology was conspired from original doctrines, which denoted the overall creator a male. Statues and other forms of display made significant notice of their creator's masculine qualities, more specifically pointing out his erect penis. Therefore, to appease their god's preferences women's tombs and coffins displayed male qualities. Examples of male modifications included name combinations, in which women engraved "Osiris" before their own name on their coffins. This demonstrated the collaboration of women with a god who was capable of rebirth, because alone their gender restricted them.


title: Ancient Egyptian afterlife beliefs

text: Sekhet-Aaru, the "Field of Reeds", was the final destination for all souls who had been granted rebirth. This concept evolved in the Fifth Dynasty. Sekhet-Aaru was essentially thought to be paradise and encompassed this visualization. The Field of Reeds was visualized as a very lush region, filled with waterfalls among other natural wonders. Egyptian images, such as the Papyrus of Nebseni, depicted the land as being divided into numerous sections. Each division was imagined to resemble island structures, in which travel by boat is necessary.


title: Ancient Egyptian afterlife beliefs

text: Those who were granted access to the Field of Reeds included both gods and righteous souls. The fertility of the land was greatly emphasized as this possessed two of the major rewards in obtaining immortality: access to the Nile, and the ability to farm foods. As a result, the deceased ate and drank the same delicacies devoured by their gods. In turn, this promoted the belief that by obtaining immortality, individuals also accumulated aspects that resembled gods. Additionally, a third notable honor of residing in Sekhet-Aaru was the means of communication. The deceased were able to convey thoughts to one another, the gods, and those they had previously lost.


title: Terengganu

text: Terengganu (; , Jawi: ), formerly spelled Trengganu or Tringganu, is a sultanate and constitutive state of federal Malaysia. The state is also known by its Arabic honorific, "Dāru l-Īmān" ("Abode of Faith"). The coastal city of Kuala Terengganu, which stands at the mouth of the broad Terengganu River, is both the state and royal capital as well as the largest city in Terengganu. There are many islands located close to the coast of Terengganu state, such as Perhentian Islands and Redang Island.


title: Terengganu

text: There are several theories on the origin of the name "Terengganu". One theory attributes the name's origin to "terang ganu", Malay for 'bright rainbow'. Another story, said to have been originally narrated by the ninth Sultan of Terengganu, Baginda Omar, tells of a party of hunters from Pahang roving and hunting in the area of what is now southern Terengganu. One of the hunters spotted a big animal fang lying on the ground. A fellow party member asked to which animal did the fang belong. The hunter, not knowing which animal, simply answered "taring anu" (Malay: 'fang of something'). The party later returned to Pahang with a rich hoard of game, fur and sandalwood, which impressed their neighbours. They asked the hunters where did they source their riches, to which they replied, from the land of "taring anu", which later evolved into Terengganu. Terengganu was called Trangkanu () by the Siamese when it was under their influence. Terengganuans usually pronounce Terengganu as Tranung or Ganu with the G often being emphasized.


title: Terengganu

text: The traditional Chinese name for Terengganu has been "丁加奴" (Pinyin: dīngjiānú), which is a direct transcription of the Malay name. However, in recent years, the Chinese community in Terengganu has raised objections to the name, citing that the characters used loosely translate to "giving birth to a child who will become a slave" (Chinese: 添丁加做奴). Therefore, they successfully petitioned the regulatory commission for Chinese language in Malaysia to change the Chinese name for the state to "登嘉楼" (Pinyin: dēngjiālóu), which can be loosely translated to "aspiring/stepping up to a higher level", in September 2004. It is worth noting, however, that the new name was in unofficial use by the state's Chinese community for at least 30 years before its official adoption.


title: Terengganu

text: Certain segments of the Chinese community opposed the name change, citing the fact that the new name contains too many character strokes, making it much more difficult to write. They have proposed to revert the name to the version used before 2004, but with the word "奴" (slave, which was mainly the cause of the controversy) to the similar sounding, but more positive "努" (perseverance).


title: Terengganu

text: Terengganu's location by the South China Sea ensured that it was on trade routes since ancient times. The earliest written reports on the area that is now Terengganu were by Chinese merchants and seafarers in the early 6th century A.D. Like other Malay states, Terengganu practised a Hindu–Buddhist culture combined with animist traditional beliefs for hundreds of years before the arrival of Islam. Under the influence of Srivijaya, Terengganu traded extensively with the Majapahit Empire, the Khmer Empire and especially the Chinese.


title: Terengganu

text: Terengganu was the first Malay state to receive Islam, as attested to by the Terengganu Inscription Stone with Arabic inscriptions found in Kuala Berang, the capital of the district of Hulu Terengganu. The inscribed date which is incomplete due to damage can be read as various dates from 702 to 789 AH (1303 to 1387 CE). Terengganu became a vassal state of Malacca, but retained considerable autonomy with the emergence of Johor Sultanate.