Tonatiuh, the Sun, drinks the blood of the Teteo in order to gain the energy to begin his daily revolutions. Here, the divine blood, adorned with jade and turquoise, flows into him, on the day Nahui Ollin, Four Movement, which is the day the sun was born. by Corazon Mexica. insta link
Tonatiuh, 'Turquoise Lord,' was the 5th and present sun in the Aztec view of the cosmos and the fierce sun god of several other Postclassic Mesoamerican cultures, including the Toltecs. It was thought that only the regular offering of hearts from sacrificial victims would nourish Tonatiuh so that he had the strength to reign supreme in the skies and battle each night the forces of darkness. For many, the sun god is the central figure on the Sun Stone, perhaps the most famous of all Aztec art pieces, where his tongue appears as a sacrificial blade thirsty for blood.
Names & Associations
The idea in Mesoamerica of a sun god with martial qualities goes back to the Classic Maya figure of K'inich Ajaw. For the Zapotec civilization (500 BCE - 900 CE) in the southern highlands of central Mexico in the Valley of Oaxaca, Tonatiuh was Copijcha (aka Cocicho). The Toltec civilization, which flourished in central Mexico between the 10th and mid-12th century CE, closely associated Tonatiuh with Quetzalcoatl, the feathered serpent god, and his manifestation as the morning star aspect of the planet Venus.
To the Aztecs of ancient Mexico (c. 1345-1521 CE) Tonatiuh was also known as Cuauhtlehuanitl ('Ascending eagle') and Cuauhtemoc ('Descending eagle'). His calendar name was Nahui ollin, 4 Motion, he was patron god of the 19th day Quiahuitl (rain), and 4th of the 13 Aztec Lords of the Day with an associated 'bird' sign of the quail. The sun was associated with gold and, for the Mixtec, made of turquoise, hence Tonatiuh is sometimes known as 'Turquoise Lord' (as, confusingly, is Xiuhtecuhtli, the Aztec god of Fire). Tonatiuh was a fierce and warlike god and it is suggestive that the Aztecs called the cruel and ruthless conquistador Pedro de Alvarado none other than Tonatiuh.
The Aztec Creation Myth
The Aztecs believed that the cosmos had already gone through four stages, each with its own sun and beings. The present era for the Aztecs was that of the 5th and final sun, Tonatiuh. The god had been born from the sacrifice of Nanahuatzin who threw himself into a fire at Teotihuacan and thus became the new sun. There was an immediate problem that Tonatiuh could or would not set himself in motion across the sky without a blood sacrifice. Now stepped in Tlahuizcalpantecuhtli, for the Aztecs the planet Venus as the menacing morning star. He angrily threw his atl-atl dart at Tonatiuh in order to set him on his orbit, but the sun retaliated by throwing a dart right back. This missile hit Tlahuizcalpantecuhtli right in the forehead, instantly transforming him into stone and the god Itztlacoliuhqui, a deity associated with ice and cold. The rest of the gods realised that only a sacrifice would set the sun in motion and so Quetzalcoatl removed their hearts for that purpose. The offering worked and Tonatiuh was on his way.
Tlahuizcalpantecuhtli had not left the scene permanently, though, and every 584 days he rises from the eastern sea to do battle with Tonatiuh once again. For this reason, Tonatiuh had to be strengthened via the sacrifice of humans so that he could feast on their hearts, just as he had first been nourished by the hearts of the gods. It was imagined that the sun was swallowed each night by the earth-fertility goddess, Tlaltecuhtli, and then regurgitated by the toad-like monster the following morning. Sacrifices ensured his successful return and victory each night against her and the forces of darkness.
Warriors were closely associated with Tonatiuh because it was their duty to ensure a steady supply of sacrificial victims for him. The spirits of dead warriors, too, were conducted to the next life by Tonatiuh. In addition, given the sun's vital role in ensuring the well-being of the cosmos and the Aztec ruler's position as chief warrior, Tonatiuh had his own sacrificial altar during coronation ceremonies. In times of great strife such as famine, droughts, and war, Tonatiuh could receive the huge number of bloody sacrifices that the Aztecs have become infamous forever since.
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VTuber posting
aaaaaa Enna's new outfit is so cute!!That said, since Reimu is now indie again (back on her old channel as Marie), there's a pretty good chance she'll reconnect with Nerissa in some way, since they really seemed to hit it off in their collabs. I wanna see them nerd out about musicals some more!
Totally separate thing, but I was just watching Myth's 5th anniversary concert and I finally got to the bottom of something that had been bothering me. Whenever I'd watch VTuber concerts on YouTube, I'd get (what appeared to be) terrible framepacing/frame dropping, which I chalked up to either my computer being weird or there being a deficiency with the web player. But even when I switched to mpv, it got really bad in one section, so I went back and frame advanced and realized the frames were dropped in the original video! This was the spot I noticed it (0:04:49) (pro tip: you can framestep on YouTube using the
,and.keys), but in a whole bunch of the shots there are sections where it'll effectively drop to 30 fps for 10 or 20 frames. But it's NOT that they're reducing to 30 fps intentionally, since it happens irregularly, which results in super choppy playback. Out of curiosity, I checked a Nijisanji prerecorded 3D concert and found similar issuesβin fact, I think they may have actually limited the last song in the Niji concert to 30 fps because of the more complex moving background with a long draw distance.Really confuses the hell out of me, since I never would have assumed that these prerecorded concerts would be rendered in realtime. I mean...why would you do it that way? When they're recording the performances they actually do live camerawork, so the camera operators need some kind of realtime rendering to compose their shots, but once you've got all the camera motion programmed, surely you could render it in advance at whatever framerate and resolution you desired? The only thing I can think of is that the software they use is literally not capable of doing that, which seems hard to believe. But Hololive and Nijisanji each use their own proprietary software for Live2D (and probably in-home 3D as well?) that pales in comparison to the off-the-shelf solutions, so maybe I shouldn't be that surprised.
The real takeaway from this is that, due to deficient technical processes, they must be artificially limiting the complexity of their backgrounds to prevent the framerate from completely tanking. Pretty embarrassing for two companies with billion dollar market caps. But hey, if it doesn't affect the bottom line, who cares, right?
If anyone's knowledgeable about 3D graphics engines (especially in relation to motion capture), could you take a gander at the second half of the post (below the break)? I'm making some bold claims but tbh I have zero experience so I'm just shooting from the hip, and maybe there's a more charitable explanation for what I'm seeing beyond incompetence/complacence.
I found YouTube links in your comment. Here are links to the same videos on alternative frontends that protect your privacy:
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