Archive for Far East of Asia

My latest video

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Hello Universe!

The brochure above is the latest project that I am on as an digital Artist and its called “Rule 35” by CAN (Community Arts North West Manchester)

The promo video I produced is just below  🙂

https://www.youtube.com/watch?v=ypM74YFlNE0

And I just need a bit rest in whole my life and plan to do some thing for my website not just this blog and bunch of update. But at last I am posting in these busy days of my life having adventure as I call them “placeless memories” that is so relatable to my situation. (And I just made up an English word from relate and yes let’s say relatable  🙂  )

I am doing good in my Korean studying and I am proud universe, I am proud that I can speak, read and write in Korean, just got the intermediate level but my research and my passion for Far East of Asia is on. As it is the only thing that left in my life  :l

beside the second year of Japanese and reading and writing …. That’s … let’s change the subject “How are you ddoooin universe?” (with the Joe accent of series of friends)

YUP I’m on that too … After I sort most of my life out I am excited for a surprise interview that I will reveal later … It’s a SURPRISE  🙂

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Asia Art Archive 🙂

Amaterasu animation video

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HELLO Universe

The video of Amaterasu is online and the link is below:

Amaterasu, Goddess of the sun

This experience was an amazing journey specially because it was the first visual step of my research.

This journey helped me meet new people and I met one of my good friends and colleagues Katrina who is a great illustrator.

Beside my BUSY year and specially this last month I am proud of my 2014 with all ups and downs.

I am looking forward to 2015 and I need to do a big plan for a new website, put everything in place and take the higher professional step to work on bigger projects.

I will update soon with my new research and study schedule that will be my priority for next year beside 2 big projects “Rule 35” and “Do I.T.”

There is a short film that I have to do at the beginning of 2015 and I am hoping to do a good time organizing and reaching all the targets in Spring 2015.

Because it’s regarding my research too and kind a 2015 is pulling everything from my research together.

So, Ohhhh! I wanted to write Merry Christmas and I remember in Do I.T we did some Christmas cards for our selves to set our goals and I forgot to put Merry Christmas for myself … YUP the sign of busier 2015 but all for good #Optimisticgirl  🙂

I have to continue bringing back my events and projects from FCPX that had been updated and God thanks for everything!

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Animation Project finish point …

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Konnichiwa Universe …!

So Finally the Amaterasu animation project about the lovely deity of the sun finished.

Had the meeting yesterday and it got the road for the future and hopefully movies.

Again thanks to amazing Yuko and my amazing work place CAN 🙂

There is lots to do now to focus every thing, beside one of the animations that i animated a heart and it looks SO natural and I am so happy about.

My study schedule doesn’t look really good and it really needs time and working that I couldn’t do enough these days.

It’s not that bad but from my point of view am I satisfied? … NOPE. and that’s the thing.

I need work as much as I am satisfied and I need more planning.

but in the mean time it’s a pause and breathe that will help whole the thing.

🙂

I have to finish this post soon, need to get home early and I really like productive days.

So yes it’s done by me but the story of JPN mythology just began.

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Productive Japan Day

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Hello to the universe and all the creatures inside!

By the changes that comes up for “Goddess of the sun, Amaterasu” Next week is taking to completing in CAN and it’s all for good.

Finishing the second year of my Japanese course till the end of November and passing by 85 out of 100 for the one before the main exam is a ” You are AWESOME” to my forehead.

I finished a draft video for the graphic and animation works I want to do for Heart’s core and it made me being on track and I felt SO good on Friday.

The week a head gonna be super busy too but all good and productive and I am getting good skills in the tech course in contact theater that was again a better point to the projects I am working on.

And the website and focusing the works is again a priority.
IT NEEDS TO BE DONE!

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The meeting today with Yuko Howes the amazing Japanese lady from JSNW (Japanese Society of North West) was made me think of I forgot to add the photo of Japan Day!

So The Japan Day in Manchester was on 25th of August 2014 with lots different activities from showing martial arts to the costume contest mostly from animation and manga characters and information about the Japanese art (like craft and paintings and etc.) and culture.

And Yuko invited me being as the guest of fantastic tea ceremony of Japan and I absolutely LOVED it.

The adventure was cool and the venue “Midland Hotel” was great, and I think bigger venue was even better because LOTS of people came and yeah! … it was full with people who were interested in Japan and it made me super happy  🙂

Here are some photos:

And finally me as a Japanese warrior … Kind a … ^_^

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Power of music

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Power of Music

Like a piece of ice

Melting on a boiling lava

Drop by drop …

I drip to the music notes

I can’t stop listening

And as much as it melts me

I listen … over & over again

Then I become a part of lava

In a place that knows me the most

When I’m a stranger to all

I put my heads down

And I melt again …

I listen again …

And Its the lava that start melting

By the power of music

Words by Mahboobeh88

(Mahboobeh Rajabi)

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P.S Amaterasu “Goddess of the sun” animation finished!

I had a dramatic day because of some important things that needed to change at the last moment but I trusted my editing skills and VICTORY!

This is the first step of visualizing my research as part of Japanese mythology that again is the part of my research.

Hopefully by the beginning of 2015 I can came up with more focus research pattern and draft so I can step up for bigger projects.

Specially with starting working on my website it will get all better place.

It’s like giving the works a nice home and it feels good.

But now for the moment lots of projects is going on.

one big digital and graphic video for a massive performance project for the next 5 month

Digging on digital and social media world in DO I.T. this year

beside getting on Business networking

Life couldn’t be much better.

🙂

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Amaterasu …The Goddess of the Sun

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So basically today the post production is about to finish now of:

The Goddess of the Sun

Amaterasu

It just need to have the credits

And a great thing me and Katrina did was that we create our own logo

AGAIN I am going to keep the mystery till the video goes viral  🙂

So YES we are really getting there

Such a great journey and I am so happy that it is just the beginning of visualizing a part of my research from the Far East of Asia

It was a productive day with twitter and google plus in drop on session of the next years of       Do I.T.

So I feel GREAT but tired … looking forward to hang out this evening with friends

P.s the image at the bottom is a cool Abstract art of Shinjuku/Tokyo that I LOVED

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My First stop motion video, Introducing my Research :)

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My first stop motion video is on line now.

The video introducing artists in Do I.T. project by Community Arts North West and of course introducing me and my research and I am so excited about.

Have a big performance tomorrow beside my other works and videos with “Young Producers” that are on line too and will write more soon.

 

DO I.T. in Motion

 

CAN Young Producers Interviews

Tales from the Kojiki

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Japanese Creation Myth (712 CE)

From Genji Shibukawa: Tales from the Kojiki


The following is a modern retelling of the creation story from the Kojiki, Japan’s oldest chronicle, compiled in 712 CE by O No Yasumaro. This version is easier for the modern reader to understand than the original, but its essential features are preserved. The quest for Izanami in the underworld is reminiscent of the Greek demigod Orpheus’ quest in Hades for his wife, Euridice, and even more of the Sumerian myth of the descent of Innana to the underworld.

 

How does this story reflect the sense of its creators that Japan is the most important place in the world?

 


The Beginning of the World

 

Before the heavens and the earth came into existence, all was a chaos, unimaginably limitless and without definite shape or form. Eon followed eon: then, lo! out of this boundless, shapeless mass something light and transparent rose up and formed the heaven. This was the Plain of High Heaven, in which materialized a deity called Ame-no-Minaka-Nushi-no-Mikoto (the Deity-of-the-August-Center-of-Heaven). Next the heavens gave birth to a deity named Takami-Musubi-no-Mikoto (the High-August-Producing-Wondrous-Deity), followed by a third called Kammi-Musubi-no-Mikoto (the Divine-Producing-Wondrous-Deity). These three divine beings are called the Three Creating Deities.

In the meantime what was heavy and opaque in the void gradually precipitated and became the earth, but it had taken an immeasurably long time before it condensed sufficiently to form solid ground. In its earliest stages, for millions and millions of years, the earth may be said to have resembled oil floating, medusa-like, upon the face of the waters. Suddenly like the sprouting up of a reed, a pair of immortals were born from its bosom. These were the Deity Umashi-Ashi-Kahibi-Hikoji-no-Mikoto (the Pleasant-Reed-Shoot-Prince-Elder-Deity) and the Deity Ame-no-Tokotachi-no-Mikoto (The Heavenly-Eternally-Standing-Deity). . . .

Many gods were thus born in succession, and so they increased in number, but as long as the world remained in a chaotic state, there was nothing for them to do. Whereupon, all the Heavenly deities summoned the two divine beings, Izanagi and Izanami, and bade them descend to the nebulous place, and by helping each other, to consolidate it into terra firma. “We bestow on you,” they said, “this precious treasure, with which to rule the land, the creation of which we command you to perform.” So saying they handed them a spear called Ama-no-Nuboko, embellished with costly gems. The divine couple received respectfully and ceremoniously the sacred weapon and then withdrew from the presence of the Deities, ready to perform their august commission. Proceeding forthwith to the Floating Bridge of Heaven, which lay between the heaven and the earth, they stood awhile to gaze on that which lay below. What they beheld was a world not yet condensed, but looking like a sea of filmy fog floating to and fro in the air, exhaling the while an inexpressibly fragrant odor. They were, at first, perplexed just how and where to start, but at length Izanagi suggested to his companion that they should try the effect of stirring up the brine with their spear. So saying he pushed down the jeweled shaft and found that it touched something. Then drawing it up, he examined it and observed that the great drops which fell from it almost immediately coagulated into an island, which is, to this day, the Island of Onokoro. Delighted at the result, the two deities descended forthwith from the Floating Bridge to reach the miraculously created island. In this island they thenceforth dwelt and made it the basis of their subsequent task of creating a country. Then wishing to become espoused, they erected in the center oPound the island a pillar, the Heavenly August Pillar, and built around it a great palace called the Hall of Eight Fathoms. Thereupon the male Deity turning to the left and the female Deity to the right, each went round the pillar in opposite directions. When they again met each other on the further side of the pillar, Izanami, the female Deity, speaking first, exclaimed: “How delightful it is to meet so handsome a youth!” To which Izanagi, the male Deity, replied: “How delightful I am to have fallen in with such a lovely maiden!” After having spoken thus, the male Deity said that it was not in order that woman should anticipate man in a greeting. Nevertheless, they fell into connubial relationship, having been instructed by two wagtails which flew to the spot. Presently the Goddess bore her divine consort a son, but the baby was weak and boneless as a leech. Disgusted with it, they abandoned it on the waters, putting it in a boat made of reeds. Their second offspring was as disappointing as the first. The two Deities, now sorely disappointed at their failure and full of misgivings, ascended to Heaven to inquire of the Heavenly Deities the causes of their misfortunes. The latter performed the ceremony of divining and said to them: “It is the woman’s fault. In turning round the Pillar, it was not right and proper that the female Deity should in speaking have taken precedence of the male. That is the reason.” The two Deities saw the truth of this divine suggestion, and made up their minds to rectify the error. So, returning to the earth again, they went once more around the Heavenly Pillar. This time Izanagi spoke first saying: “How delightful to meet so beautiful a maiden!” “How happy I am,” responded Izanami, “that I should meet such a handsom youth!” This process was more appropriate and in accordance with the law of nature. After this, all the children born to them left nothing to be desired. First, the island of Awaji was born, next, Shikoku, then, the island of Oki, followed by Kyushu; after that, the island Tsushima came into being, and lastly, Honshu, the main island of Japan. The name of Oyashi- ma-kuni (the Country of the Eight Great Islands) was given to these eight islands. After this, the two Deities became the parents of numerous smaller islands destined to surround the larger ones.

 


The Birth of the Deities

 

Having, thus, made a country from what had formerly been no more than a mere floating mass, the two Deities, Izanagi and Izanami, about begetting those deities destined to preside over the land, sea, mountains, rivers, trees, and herbs. Their first-born proved to be the sea-god, Owatatsumi-no-Kami. Next they gave birth to the patron gods of harbors, the male deity Kamihaya-akitsu-hiko having control of the land and the goddess Haya-akitsu-hime having control of the sea. These two latter deities subsequently gave birth to eight other gods.

Next Izanagi and Izanami gave birth to the wind-deity, Kami-Shinatsuhiko-no-Mikoto. At the moment of his birth, his breath was so potent that the clouds and mists, which had hung over the earth from the beginning of time, were immediately dispersed. In consequence, every corner of the world was filled with brightness. Kukunochi-no-Kami, the deity of trees, was the next to be born, followed by Oyamatsumi-no-Kami, the deity of mountains, and Kayanuhime-no-Kami, the goddess of the plains. . . .

The process of procreation had, so far, gone on happily, but at the birth of Kagutsuchi-no-Kami, the deity of fire, an unseen misfortune befell the divine mother, Izanami. During the course of her confinement, the goddess was so severely burned by the flaming child that she swooned away. Her divine consort, deeply alarmed, did all in his power to resuscitate her, but although he succeeded in restoring her to consciousness, her appetite had completely gone. Izanagi, thereupon and with the utmost loving care, prepared for her delectation various tasty dishes, but all to no avail, because whatever she swallowed was almost immediately rejected. It was in this wise that occurred the greatest miracle of all. From her mouth sprang Kanayama- biko and Kanayama-hime, respectively the god and goddess of metals, whilst from other parts of her body issued forth Haniyasu-hiko and Haniyasu-hime, respectively the god and goddess of earth. Before making her “divine retirement,” which marks the end of her earthly career, in a manner almost unspeakably miraculous she gave birth to her last-born, the goddess Mizuhame-no-Mikoto. Her demise marks the intrusion of death into the world. Similarly the corruption of her body and the grief occasioned by her death were each the first of their kind.

By the death of his faithful spouse Izanagi was now quite alone in the world. In conjunction with her, and in accordance with the instructions of the Heavenly Gods, he had created and consolidated the Island Empire of Japan. In the fulfillment of their divine mission, he and his heavenly spouse had lived an ideal life of mutual love and cooperation. It is only natural, therefore, that her death should have dealt him a truly mortal blow.

He threw himself upon her prostrate form, crying: “Oh, my dearest wife, why art thou gone, to leave me thus alone? How could I ever exchange thee for even one child? Come back for the sake of the world, in which there still remains so much for both us twain to do.” In a fit of uncontrollable grief, he stood sobbing at the head of the bier. His hot tears fell like hailstones, and lo! out of the tear-drops was born a beauteous babe, the goddess Nakisawame-no-Mikoto. In deep astonishment he stayed his tears, a gazed in wonder at the new-born child, but soon his tears returned only to fall faster than before. It was thus that a sudden change came over his state of mind. With bitter wrath, his eyes fell upon the infant god of fire, whose birth had proved so fatal to his mother. He drew his sword, Totsuka-no-tsurugi, and crying in his wrath, “Thou hateful matricide,” decapitated his fiery offspring. Up shot a crimson spout of blood. Out of the sword and blood together arose eight strong and gallant deities. “What! more children?” cried Izanagi, much astounded at their sudden appearance, but the very next moment, what should he see but eight more deities born from the lifeless body of the infant firegod! They came out from the various parts of the body,–head, breast, stomach, hands, feet, and navel, and, to add to his astonishment, all of them were glaring fiercely at him. Altogether stupefied he surveyed the new arrivals one after another.

Meanwhile Izanami, for whom her divine husband pined so bitterly, had quitted this world for good and all and gone to the Land of Hades.

 


Izanagi’s Visit to the Land of Hades

 

As for the Deity Izanagi, who had now become a widower, the presence of so many offspring might have, to some extent, beguiled and solaced him, and yet when he remembered how faithful his departed spouse had been to him, he would yearn for her again, his heart swollen with sorrow and his eyes filled with tears. In this mood, sitting up alone at midnight, he would call her name aloud again and again, regardless of the fact that he could hope for no response. His own piteous cries merely echoed back from the walls of his chamber.

Unable any longer to bear his grief, he resolved to go down to the Nether Regions in order to seek for Izanami and bring her back, at all costs, to the world. He started on his long and dubious journey. Many millions of miles separated the earth from the Lower Regions and there were countless steep and dangerous places to be negotiated, but Izanagi’s indomitable determination to recover his wife enabled him finally to overcome all these difficulties. At length he succeeded in arriving at his destination. Far ahead of him, he espied a large castle. “That, no doubt,” he mused in delight, “may be where she resides.”

Summoning up all his courage, he approached the main entrance of the castle. Here he saw a number of gigantic demons, some red some black, guarding the gates with watchful eyes. He retraced his steps in alarm, and stole round to a gate at the rear of the castle. He found, to his great joy, that it was apparently left unwatched. He crept warily through the gate and peered into the interior of the castle, when he immediately caught sight of his wife standing at the gate at an inner court. The delighted Deity loudly called her name. “Why! There is some one calling me,” sighed Izanami-no-Mikoto, and raising her beautiful head, she looked around her. What was her amazement but to see her beloved husband standing by the gate and gazing at her intently! He had, in fact, been in her thoughts no less constantly than she in his. With a heart leaping with joy, she approached him. He grasped her hands tenderly and murmured in deep and earnest tones: “My darling, I have come to take thee back to the world. Come back, I pray thee, and let us complete our work of creation in accordance with the will of the Heavenly Gods,–our work which was left only half accomplished by thy departure. How can I do this work without thee?Thy loss means to me the loss of all.” This appeal came from the depth of his heart. The goddess sympathized with him most deeply, but answered with tender grief: “Alas! Thou hast come too late. I have already eaten of the furnace of Hades. Having once eaten the things of this land, it is impossible for me to come back to the world.” So saying, she lowered her head in deep despair.

“Nay, I must entreat thee to come back. Canst not thou find some means by which this can be accomplished?” exclaimed her husband, drawing nearer to her. After some reflection, she replied: “Thou hast come a very, very long way for my sake. How much I appreciate thy devotion! I wish, with all my heart, to go back with thee, but before I can do so, I must first obtain the permission of the deities of Hades. Wait here till my return, but remember that thou must not on any account look inside the castle in the meantime. ” I swear I will do as thou biddest,” quoth Izanagi, ” but tarry not in thy quest.” With implicit confidence in her husband’s pledge, the goddess disappeared into the castle.

Izanagi observed strictly her injunction. He remained where he stood, and waited impatiently for his wife’s return. Probably to his impatient mind, a single heart-beat may have seemed an age. He waited and waited, but no shadow of his wife appeared. The day gradually wore on and waned away, darkness was about to fall, and a strange unearthly wind began to strike his face. Brave as he was, he was seized with an uncanny feeling of apprehension. Forgetting the vow he had made to the goddess, he broke off one of the teeth of the comb which he was wearing in the left bunch of his hair, and having lighted it, he crept in softly and- glanced around him. To his horror he found Izanagi lying dead in a room: and lo! a ghastly change had come over her. She, who had been so dazzlingly beautiful, was now become naught but a rotting corpse, in an advanced stage of decomposition. Now, an even more horrible sight met his gaze; the Fire Thunder dwelt in her, head, the Black Thunder in her belly, the Rending-Thunder in her abdomen, the Young Thunder in her left hand, the Earth-Thunder in her right hand, the Rumbling-Thunder in her left foot,-and the Couchant Thunder in her right foot:–altogether eight Thunder-Deities had been born and were dwelling there, attached to her remains and belching forth flames from their mouths. Izanagitno-Mikoto was so thoroughly alarmed at the sight, that he dropped the light and took to his heels. The sound he made awakened Izanami from her death-like slumber. For sooth!” she cried: “he must have seen me in this revolting state. He has put me to shame and has broken his solemn vow. Unfaithful wretch! I’ll make him suffer, for his perfidy.”

Then turning to the Hags of Hades, who attended her, she commanded them to give chase to him. At her word, an army of female demons ran after the Deity.

Translated by Yaichiro Isobe

Reference:

http://public.wsu.edu/~brians/world_civ/worldcivreader/world_civ_reader_1/kojiki.html

Seasonal Imagery in Japanese Art

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From ancient times to the present, the Japanese people have celebrated the beauty of the seasons and the poignancy of their inevitable evanescence through the many festivals and rituals that fill their year—from the welcoming of spring at the lunar New Year to picnics under the blossoming cherry trees to offerings made to the harvest moon. Poetry provided the earliest artistic outlet for the expression of these impulses. Painters and artisans in turn formed images of visual beauty in response to seasonal themes and poetic inspiration. In this way, artists in Japan created meditations on the fleeting seasons of life and, through them, expressed essential truths about the nature of human experience.

This sensitivity to seasonal change is an important part of Shinto, Japan’s native belief system. Since ancient times, Shinto has focused on the cycles of the earth and the annual agrarian calendar. This awareness is manifested in seasonal festivals and activities. Similarly, seasonal references are found everywhere in the Japanese literary and visual arts. Nature appears as a source of inspiration in the tenth-century Kokinshu(Collection of Ancient and Modern Poems), the earliest known official anthology of native poetry (rather than Chinese verse). These poems, produced by courtiers who embraced a highly refined aesthetic sensibility, not only celebrated the sensual appeal of elements of the natural world, but also imbued them with human emotions. Melancholy sentiments, invoked by a sense of time passing, loss, and disappointment, tended to be the most common emotional notes. This attitude can be seen in such visual arts as Buddhist and Shinto paintings of the Heian period that include lovely but short-lived blossoming cherry trees. Autumnal and winter scenes and related seasonal references, such as chrysanthemums and persimmons growing on trees that have already lost their foliage, are eloquent expressions of this same sentiment.

 

A distinctive Japanese convention is to depict a single environment transitioning from spring to summer to autumn to winter in one painting. For example, spring might be indicated by a few blossoming trees or plants and summer by a hazy and humid atmosphere and densely foliated trees, while a flock of geese typically suggests autumn and snow, and barren trees evoke winter. (Because this convention was so common, seasonal attributes could be quite subtle.) In this way, Japanese painters expressed not only their fondness for this natural cycle but also captured an awareness of the inevitability of change, a fundamental Buddhist concept.

 

The confluence of Shinto and Buddhism in the use of seasonal references demonstrates the central position of this practice in Japanese culture. As indicated above, cherry blossoms can be found in pictures illustrating Buddhist as well as Shinto concepts, with both expressing the beauty and brevity of nature. Similarly, folding screens decorated with ink monochrome paintings showing a transition from one season to the next initially were placed in the private quarters of Buddhist monks. Ritual implements and decorative items used in Buddhist temples and practice are often covered with flowers, birds, and other scenes from nature.

 

While the pictorial compositions that encompass all four seasons together present a broad view, more compact versions also appear. During the Momoyama and Edo periods, seasonal flowers and plants such as plum blossoms, irises, and morning glories became the entire focus of painting compositions. Similarly, decorative works such aslacquerware containers, kimonos, and ceramic vessels are frequently ornamented in this way. When natural elements are employed as decorative motifs, they are frequently stylized to heighten the ornamental effect. Once again, these visual scenes often have literary references, heightening the image’s mood and cultural meaning.


Department of Asian Art, The Metropolitan Museum of Art

Resource: Here

“Ouija” not the board game, THE MOVIE

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So again an interesting news that I found during my research.

I had ideas of visualizing some board games but it’s not easy to bring the world of a board game to reality, movement and live world and at the same time keeping the mood, battles and stories.

The fascinating news I have is that in October this year a movie will be released that made based on a board game.

OK, The thing is that, that board game is “Ouija” … an ancient Chinese board game CPU_SeriousFace_Emoticon

 

I never played it and get to know it through the research.

The thing is I am LOOKING FORWARD to see how they made the movie because … just have a look at some reviews and criticism:

“Following its commercial introduction by businessman Elijah Bond on July 1, 1890, the Ouija board was regarded as a harmless parlor game unrelated to the occult until American Spiritualist Pearl Curran popularized its use as a divining tool during World War I.

Mainstream religions and some occultists have associated use of a Ouija board with the concept of demonic possession, and view the use of the board as a spiritual threat and have cautioned their followers not to use a Ouija board.

Despite being criticized by the scientific community and deemed demonic by Christians, Ouija remains popular among many”

Most religious criticism of the Ouija board has come from Christians, primarily evangelicals in the United States. In 2001, Ouija boards were burned in Alamogordo, New Mexico byfundamentalist groups alongside Harry Potter books as “symbols of witchcraft.”[8][9][10] Religious criticism has also expressed beliefs that the Ouija board reveals information which should only be on God’s hands, and thus it is a tool of Satan.[11] A spokesperson for Human Life International described the boards as a portal to talk to spirits and called for Hasbro to be prohibited from marketing them.

Bishops in Micronesia called for the boards to be banned and warned congregations that they were talking to demons and devils when using the boards.

 Ouija boards have been criticized in the press since their inception; having been variously described as “‘vestigial remains’ of primitive belief-systems” and a con to part fools from their money. Some journalists have described reports of Ouija board findings as ‘half truths’ and have suggested that their inclusion in national newspapers lowers the national discourse overall.

And there is more.

So it’s not a surprise that I am excited to see the movie.

My ideas is completely different from some of the examples I found so I just keep the inspiration fresh that it will be unique and not any thing else.

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