#literally the sheep and goat fable..

[astral-disastral-catastral]

HEAR ME OUT smilk's new beast raid boss is a goat looking thing BECAUSE

PV probably takes some sort of inspiration from prophets in abrahamic religions more notably jesus than anything else or atleast imo and like you see him with sheep and stuff like in 1 of his overworld animations where he's with a cotton candy sheep like he may have been a shepard before his pilgrimage and stuff and what are sheep known for other than being cuddly and cute and tasty? LOYALTY!!!! And there's like a buncha thing abt sheep in some religions too like in the bible sheep are brought up a lot and are of high value I think not 200% sure like sacrificing sheep or using them as metaphors for things like followers following a religion or prophet with loyalty. Smilk is essentially like legit the polar opposite of pv, deceitful, opposing colour palette, completely different personality, yk and what Is his beast raid boss? A GOAT THING!!! What are goat known for other than being also tasty? Being more disobedient and violent and stubborn compared to sheep who are easier to control and stuff so a goat is basically the antithesis of a sheep [especially in the bible there are metaphors and stuff used for like people eho are sinful i think again not 100% sure....] THEREFORE HIS BEAST RAID BOSS HIS A GOAT TO OPPOSE PV IN EVERYWAY EVEN FURTHER!!!!!! Like js think abt it........ smilk=antipv and goat is anti-sheep.... PLUS technically you could relate a goat to demon stuff like that 1 demon called baphomet kinda look like a goat sorta soo.... yeah I'm a genius I know very smart very demure

[hazamacore]

Eva's crow motif & Wolfgang's sheep motif - the relevance of animals in Project: Eden's Garden going forwards

As a disclaimer, Wolfgang of course has two animal motifs - the sheep and the wolf. In this specific post I will only cover the former as I believe it is most relevant in relation to Eva and this first chapter in general. I personally think that his wolf motif will become more apparent as the story progresses and Wolfgang continues to haunt the narrative. As for Eva - many of the things attributed to crows also apply to ravens and some have absolutely pointed out the associations ravens specifically have (Aesop's fables, the Tower of London myth, Edgar Allen Poe) that relate to Eva. I will not be touching on that in this post and am instead focusing on the different species of crow.

With that out of the way - major spoilers for chapter one of Project: Eden's Garden ahead!

& This is a text only version of my tiktok post, if you are more visual and would prefer to read it there!

WOLFGANG & THE SHEEP

The most blatant is that sheep hold great Biblical significance not least because Jesus Christ himself is referred to as the "Lamb of God" and the term "sacrificial lamb" derives from exactly that in Christ's sacrifice to atone the sins of humanity. Wolfgang as a Christ-like figure being killed by Eva named after the first to sin paints the perfect picture for the commencement of the killing game.

Wolfgang is treated by the majority of the cast, barring Eva, Damon and arguably Ulysses and Wenona, as a "saviour". The most explicit example of this thinking is asserted by Desmond after Eva's trial as he refers to Wolfgang as "one of the only people who could've handled this situation" who could have "made progress on escaping". He acts as this guiding light towards salvation for them as sheep are social, flock animals, and shepherds symbols of guidance. Until he is killed and the ideas of atonement and salvation die with him, even as Diana attempts to "resurrect" his image.

"And he gave unto them commandments, that they should worship the Lord their God, and should offer the firstlings of their flocks, for an offering unto the Lord. And Adam was obedient unto the commandments of the Lord." (Bible, Moses 5:7, Adam and Eve sacrifice a lamb to God)

If we take Tozu's role in the academy and killing game to be equivalent to that of God, then his animal motif being a ram/goat neatly links to Wolfgang's sheep and Christ symbolism. Tozu is the father, Wolfgang is the son, and Eva (as the bird) is the Holy Spirit and all three are bound together as one in this murder case that implicates them all. Not to mention how Eva literally sacrifices Wolfgang, the lamb, to Tozu, the God.

Shakespeare is an interesting perspective to take into account considering Tozu's theatrical nature and the consistent references to theatre within P:EG (EG: Tozu referencing Horace in the prologue). In Shakespeare's plays, sheep are often symbolic of vulnerability and used as a means of "peripeteia" - the turning point where the narrative's tone darkens. Wolfgang's murder, the first murder, abides by this perfectly. His death symbolises the death of any semblance of order and justice within this situation and opens the way for the killing game to truly begin.

"We were as twinn'd lambs that did frisk i' the sun, And bleat the one at the other: what we changed Was innocence for innocence." (William Shakespeare, The Winter's Tale, 1.2.85-7)

While lambs are symbolic of sacrifice in many cultures, they are not entirely passive and become aggressive when cornered, usually by gearing up to ram or buck. This reflects how aggressive Wolfgang becomes when drugged and essentially herded in a corner by Eva, leading him to lash out at Diana. Wolfgang is the only character whose animal motif is an animal classed as livestock which is another way upon his sacrificial lamb symbolism that he was destined to die - he has been slaughtered and his metaphorical fleece has been repurposed for Diana to wear instead.

EVA & THE CROW

Firstly, crows tend to be seen either solitary or paired in nature. While they can be social animals, this is not the trend. Instantly this relates to how Eva has endured isolation and exclusion throughout her life, including in the academy. Damon is the first person she forms any sort of bond with and from the moment they wake up in the same area they are cemented as a "pair". P:EG overall has "pairs" as an extremely prominent theme due to the entire concept of Eden.

Her isolation can connect also to how crows have been observed to hold grudges. Eva's history as a victim of bullying instilled in her a victim complex and "me vs them" mentality where she takes any sort of negative reaction as "proof" that people are out to get her - something her Ultimate peers triggered with their mocking of her actual talent and confusion over her lies alike. Her targeting of Wolfgang was based in a grudge born from him singling her out as untrustworthy and how she believed he was turning everyone against her with his influence. Crows are opportunistic creatures - Eva saw the opportunity to get rid of Wolfgang and frame Diana in one fell swoop and took it. Much of her plan relied on that opportunity.

General populations deem crows largely as pests and they are, as a result, vulnerable to hunting by humans which ties into not only how Eva was and believed she was viewed by her peers, but also in how she was being "hunted" by Tozu every moment she did not kill after claiming the perk. That traitor's perk giving Eva access to the cameras essentially provided her with a "bird's eye view" of the happenings around the academy - something made further apparent by how she was watching from right above the murder as it happened.

Crows are known widely as thieves much like magpies both in the sense of them stealing prey from predators and the reputation they have gained in many human cultures for stealing precious items for their nests. It does not feel unintentional, then, that her plan saw her steal from her peers' rooms ("nests") to kill her prey. Additionally, crows have been reported to cause power outages through contact with power lines/poles which directly parallels the blackout during Eva's murdering of Wolfgang.

Most glaringly is how crows hold the familiar associations with evil and the Devil in Gael culture; in the 18th century, shepherds in the Scottish highlands would make offerings to hooded crows ("hoodies") to deter them from attacking sheep.

"In Pennant's Tour in Scotland (1771) there is described a curious ceremony in which offerings were made by Scottish herdsmen to the hooded crow, eagle and other enemies of sheep to induce them to spare the flock. (...) The crow killed lambs and annoyed sickly sheep." - Ernest Ingersoll, 1923, Birds in legend, fable and folklore, p.165

This blatantly links to Eva's murder victim being Wolfgang, whose animal motif is literally a sheep to her crow. The only "offering" made to Eva was Diana's extension of friendship, but at that point the crow had already taken flight. The hooded crows indigenous to the highlands would migrate down to the more temperate southern England during winter where they gained the local name "Royston crows" due to how they feasted on the carcasses of sheep in the sheep fields of Royston, Herfordshire.

In Shintoism, crows are associated with the idea of rebirth after tragedy strikes due to the image of them feasting on the slain after great battles. Much like Wolfgang's "Lamb of God" symbolism, this will likely come to fruition in Eva's presence never truly dying, that she will be remembered after death, and that Diana will "resurrect" her image just as she is attempting to do with Wolfgang.

So: HOW MUCH SHOULD WE CONSIDER THE ANIMAL MOTIFS GOING FORWARDS?

The plain and simple answer is that it depends and must be applied on a case by case basis. Our analysis cannot start and end with the animal motifs nor can it hinge on them as they are one angle of analysis among many - most prominently Biblical allusions and characterisation and, above all, how all of these aspects link to each other. For instance, you cannot just say "this character will kill because their animal motif is a predator" because there are far more layers to it than that.

The animal motifs are important and should not be disregarded as Diana, Eva and Wolfgang have proven - they just cannot be the sole point of analysis at a stage where we have everyone's characterisation to consider in conjunction with them.

For example, while Wolfgang's sheep motif is absolutely relevant and noteworthy, I don't personally think there is as much to say about it as Eva's crow motif based on what we have so far. How it acts as a springboard for Wolfgang's Biblical allusions especially RE his Christ symbolism is the most notable element of it so far in my opinion. And this could very well be because he has two animal motifs for us to sink our teeth into - I just have not found enough with him and the wolf to warrant a full discussion yet.

My thoughts on his wolf motif becoming more relevant later on in the story relates in part to his name, Wolfgang, meaning "travelling wolf" and being taken from an actual German saint in Christianity - which connects deftly to how Wolfgang is already being treated postmortem. In his book "Teutonic Mythology", Jacob Grimm defines the name as one held by a victorious hero. Overall, I think the wolf beneath sheep's clothing is yet to be truly revealed.

On the whole, Wolfgang and Eva prove without a doubt how important and relevant everyone's animal motifs will be beyond mere aesthetics - as does Diana's speech at the end of the chapter! What must be taken into account when looking into what everyone's motifs could mean is their individual characterisations and other elements of their characters. The animal motifs are only one piece of the puzzle, but they are a necessary piece in my opinion.

Thank you for reading please feel free to add more thoughts! I have no doubt I missed stuff, especially in regards to Wolfgang's sheep motif. There is absolutely something to say about him and being an undesirable “black sheep” in relation to his background but those thoughts aren’t fleshed out enough at the moment.

[pigsongpearls]

The Pig in Mesopotamian Culture

The oldest known written language is Sumerian, which emerged in Mesopotamia (modern-day Iraq) around 3100 BCE. It is a language isolate, meaning it has no known relatives. Sumerian was used for administrative, religious, and literary purposes and is preserved on clay tablets written in cuneiform script.

The Sumerian Word for "Pig"

In Sumerian, the word for pig was:

šah (pronounced roughly as shah)

There are also compound terms and variants:

šah.gan₂ – possibly a term for a domestic pig or a pen-raised pig

šah.kù – literally "fat pig" or "pig of choice" (with kù meaning "bright, pure, noble, or fattened")

These variations show how central pigs were to food culture, economy, and even religious offerings in ancient Mesopotamia.

🪔 Cuneiform for "šah" (Pig)

In Sumerian cuneiform, the word "šah" (𒊬) is written as:

𒊬

This is a single sign, pronounced šah. It appears in lexical lists and administrative records, especially in temple inventories, offerings, and livestock tallies.

Cuneiform signs were originally pictographic and stylized over time, so 𒊬 may have once been a stylized depiction of the animal itself, although its shape became abstracted through the centuries.

🐖 Cultural Context of Pigs in Sumer

Domesticated Use: Pigs were kept for food, especially for fat and meat. They appear in records alongside sheep, goats, and cattle. They weren't seen as ritually unclean—unlike in some later Near Eastern traditions—but they also weren't as valued as sheep or oxen.

Sacrificial Animals: Pigs were occasionally sacrificed, though less frequently than sheep or bulls. Their use in offerings often depended on regional or cultic preferences.

In Texts and Myths: While pigs don’t have the symbolic richness of bulls or lions in Sumerian myth, they do appear in:

Fables and proverbs, often as metaphors for gluttony or baseness.

Lexical lists training scribes to name animals and associate them with gods or daily uses.

Compound Names: The word "šah" was used in combination to specify types or qualities:

šah.kù – “fat pig,” possibly denoting a pig raised for special meals.

šah.gan₂ – “enclosed pig” or “pen pig,” from gan₂, meaning an enclosure.

🐗 Clay Pig Figurine from Ur The clay figure of boar is one of the significant works remaining from Neolithic period (10000-2200 BC). This Artefact was discovered in Kermanshah of Iran. Excavated from the ancient city of Ur, this terracotta figurine depicts a pig and dates back to the early third millennium BCE. Measuring approximately 5.2 cm in height, it reflects the domesticated animals present in Sumerian society and may have served as a toy, offering, or household object.

Sumerian Proverbs and Fables

Sumerian proverbs and fables offer rich glimpses into early human views of animals, including the pig (šah). These texts are part of the oldest body of literature we have, dating back to the Early Dynastic and Old Babylonian periods (~2500–1700 BCE), and were used in scribal education as moral instruction or entertainment.

Here are a few notable examples where pigs (šah) appear:

🐖 1. The Fable of the Pickaxe and the Plow

This Sumerian debate poem (known as a "disputation") personifies tools. While pigs don't appear as characters, a pig is used metaphorically to describe behavior:

“The pig, his mouth never dries — he roots and eats, he wallows and grunts.” (paraphrased from context)

Here, the pig symbolizes insatiable appetite and earthiness, often contrasting with more “noble” or cultivated qualities. It's a subtle nod to the pig’s association with mud and consumption, and likely reflects urban Sumerian attitudes toward rural or unrefined behavior.

🐽 2. Sumerian Proverb: “The pig does not know when its last day comes.”

šah šu du₁₁-ga-am šu nu-kúr-ru “The pig that speaks sweetly does not keep its hand from digging (or cannot change its ways).”

This has been interpreted variously as:

A moral about flattery not changing one's nature

A warning that polite speech can mask base instincts

The pig here is seen as irreformable — even when it behaves nicely, it’s still bound to its instincts. It echoes later fables like Aesop’s, where animals symbolize unchangeable human traits.

🧠 3. Sumerian Proverb: “The pig is not taught wisdom.”

šah im-ma-an-la₂-a šà-ga im-ma-an-tuku-a “Even if you teach the pig to read, it does not gain understanding.”

A blunt proverb about futility, suggesting that some beings — possibly some people — cannot be elevated by education or refinement. Again, the pig stands for stubborn ignorance or intractable nature.

💭 Interpretation and Symbolism

While pigs in Sumer weren’t demonized, they often embodied:

Gluttony

Filthiness

Unteachable or instinct-driven nature

This may reflect their actual behaviors — rooting in mud, grunting, insatiable feeding — which made them symbols of the body and its needs, as opposed to divine or orderly rationality.

In a modern reading, we could reinterpret this not as condemnation, but as an embodied realism: the pig is true to its nature, which contrasts with human attempts at social polish or pretense.

🐖 Mesopotamian Red Stone Pig-Shaped Amulet: This small amulet, carved from red stone, represents a stylized pig with a pierced hole, suggesting it was worn as a pendant. Such amulets were likely used for protective or symbolic purposes in daily life.

🐷 Mesopotamian Black Stone Statuette of a Pig: Crafted from black stone, this small statuette portrays a pig in a stylized manner. Such artifacts were possibly used as amulets or decorative items, reflecting the significance of pigs in the region's culture and economy.

🐽 Pig-Shaped Seal from the Near East: This limestone seal, carved in the shape of a stylized pig, dates back to the 4th millennium BCE. It features incised patterns on its flat underside, used to stamp ownership or authenticate goods. The seal also has a perforation, indicating it was worn as a pendant. Such seals highlight the role of pigs in administrative and economic activities.

[zarinthelwrites]

How were the AN fables chosen for The Scorpion and the Frog?

It depends. For the first chapter, I already had that fable in mind for the start... the Oxen and the Donkey is a story that I already knew and liked. However, I had the last minute realization (based on a response from my friends who read that chapter before I ever put it up publically) that most people are not familiar. With obscure fables. So, I had the idea of rewriting them at the end-- but interestingly, in my google docs, those a/n: fables dont exist. that's because I just straight up tended to write them as I was publishing the chapter. that also lets me reinterpret those fables to better suit the chapter: I think it's actually fun to go look up the fables and then compare them to the version that I wrote down. so, for the second chapter, I was on aesop's fables wiki page, read through all the stories that had 'frog' as one of the animals, and went with the one I thought worked the best.

farmer and the viper, itachi's first pov chapter, I had that one picked out early, its another favorite fable of mine. goat and the vine: i went through a lot of different fables looking for something that suited this chapter, but in the end I really liked goat and the vine because of its nature: this is a sacrificial goat speaking to a grapevine that will also be poured on the altar. the dead speaking to the dead. i thought it was a great intro for the akatsuki, and for the fact that kaeru had now entered the "doomed" part of her life. I dont have a lot to say abt wolf and the crane, I think that's self explanatory...

Crow and the snake: i liked it bc id already given itachi a snake story earlier and crows are also his thing. like the farmer and the viper, itachi becomes the crow and the farmer, killed by the snake. in many ways its a deeply ironic fable for him, because while hes the one in the fable, the one who needs to learn the fable is his symbolized killer-- sasuke, the snake. lol

dog and the sheep. akatsuki chapters get akatsuki titles

hawk and the nightengale: you dont want to know what its like constantly googling stuff like "what birds eat frogs" "what predators preffer to eat frogs" "frog predators". anyway, its sasuke's first chance to be a bird! its ambiguous, naturally, which one he is. rivers and the sea: took me a long time to settle on this one. I think its a little cruel to say that all of itachi's fables are "what can you expect?" deals because itachi's inherent character demands he seek hope from a cruel universe. what did he expect indeed. deer without a heart: i liked the image of a zombie deer i will be real. but i also liked the idea of returning to the lion's cabin, a very literal representation of kaeru's actions compared with their metaphorical weight

scorpion and the frog: i was so happy to get to the name drop chapter. yes i outlined this in advance so i did always know what fight would be getting this name. black-bird and the birdcatcher: ... "friend, if this is what you offer your guests, no gods will answer" "but birds will." and the birds did come, did they not?

[yallemagne]

More Stuff That Happened In Godspell 1973

SPOILER WARNING!!!

This includes the scene after God Save The People all the way through Turn Back O Man.

They find a junk yard and that is their new home, I love these hippies so much

Jerry hops into the hood of a car, tells Merrell to wake him up at noon, he’s disturbed by Joanne because she needs his help with her clothes and— the character dynamics here already!! 

Jesus applies everyone’s clown makeup. Judas’ awkward smile when he does his hhhh. All the while, Jesus tells them that he comes “not to abolish the law, but to complete.” I love how they integrate actual stuff from the bible without it being pretentious

Jesus is a spooky man, I love

Impromptu junkyard jam session in place of Learn Your Lessons Well but keeping the tune

The Pharisee and the Publican!!! Told by Lynne with Black Church flourish, I love this woman

Oh No!! Joanne is in jail!!

Parable of the Unforgiving Servant! 

Judas is like “WAIT A MINUTE” in typical Judas-style, standing on a windowsill. 

Jeffrey throws Jerry in jail, but it’s okay bc Robin sentences him to torture

Day By Day! They start cleaning up the junkyard! 

JUDAS JUGGLING!

Jeffrey and Jerry on a teeter-totter

Jeffrey fucking scales a fence in a millisecond, I love, and then Jerry helps him off the fence, I love

Jesus: So, if someone slaps your right cheek, turn and offer up your left one! Judas: “Oh, Jesus Chri-“ Gilmer: *covers Judas’ mouth* SLOWLY I TURN! STEP BY STEP! INCH BY INCH!

Jesus fucking slaps Judas! WOAH!

Judas almost slaps Jesus but plays charades

Jesus’ stern face is the most terrifying thing I’ve ever witnessed and it’s adorable

Jedas hug!

Parable of the Sheep and Goats! The way they tell the parables is very kid-show-like, you’re right, Mia

Jerry is an impressive vocal magician, they’re all rather good with silly voices actually

Jesus comes back for the goats- JUDAS WAS WITH THE GOATS! SYMBOLISM!

Chanting Jesus’ part from Learn Your Lessons Well in a tunnel,,, hhhh 

Jesus: “No man can serve God-“ Everyone: “WHAT?!” Jesus: “… and money!” Everyone: “OHHH! MONEY!” 

Bouncy bouncy Jesus

“Take me to Tiffany’s.”

Turn Back O Man- sexy song warning against indulgence and war

hhhh the Mae West impression

“Ooo! Stop it!”, Jerry, I love you

“Hard as a rock!”

Jesus draws a heart <333

Jesus’ expressions towards Joanne here,,, he’s like “okay sweetie, calm down the flirting”

All the others’ faces just,,, in the staircase

Jesus and Joanne literally turning back and being forced down the stairs

Everyone just collapsing

“Play it, honey!” I just love her Mae West impression so much

Parable of the Good Samaritan narrated by Jeffrey, I love the instruments he uses to represent each character in the parable

I also just love Jeffrey in general 

They all celebrate the Good Samaritan, but WAIT

Jesus magics up a bird  

“It’s a secret!” 

Judas breaks the fourth wall to tell us what Jesus is trying to say. I think he’s specifically letting the audience in on the secret, which is sweet. Jesus interrupts him and Judas gets sad he was mistaken

TIME TO CHEER JUDAS UP!

FIREWORKS! Judas gets startled

FLOWERS! Judas gets overwhelmed with gifts from the disciples :,))) 

Parable of Lazarus and the Rich Man, narrated by Judas… 

Judas: “Now, even the doggy-doggies used to come to Lazarus and lick his open running sores.” Jerry: “Blegh!” Judas: “Sorry.”

Hades is,,, ohhhkay that’s how it be

ABRAHAM, I love Abraham

Gilmer: “Remember, my child, that all the good things fell to you while you were on Earth, and all the bad to Lois.” Jerry: “Lazarus.” Gilmer: “Abraham! Glad to know ya! And now it is he who has conciliation here, and it is you who are in ah-goh-knee!”

I love the pronunciation of agony

“Look. If they don’t listen to Moses and the prophets, they ain’t gonna listen to nobody! Even if somebody should rise from the dead!”

Foreshadowing for Jesus coming back from the dead? Or perhaps a refutation of it happening here?

It’s actually regarded as a fable that Jesus came up with to teach his disciples, so Judas being the one to narrate it is interesting

[hellaninvestigation]

Pt. 7: Parables

Lesson Seven:

An addendum: Symbolism in Daniel & Revelation

Notes:

- Characteristics of the parables: 1) they’re often hyperbolic, 2) their meaning is implicit, 3) they’re provocative and participatory (they demand attention and a response).

- The parable of the weeds is about the proclamation of the gospel… in the context of Jesus’ prophetic ministry to Israel. Imagery of weeping and gnashing of teeth signifies exclusion of Jews from the kingdom. It’s not what the damned do in hell.

- The parable of the sheep and the goats describes a judgment of nations based on their hospitality towards Jesus’ disciples. This a scene of corporate judgment, not judgment of individuals, and though it uses language like “eternal punishment” and “eternal life,” this doesn’t appear to be a judgment of the dead (there’s no reference to death in this scene; here, God has gathered the nations in judgment). So imagery like “eternal punishment” and “eternal life” more likely describes the kind of lasting destruction or lasting prosperity that will be experienced by nations who persecute or bless the followers of Jesus, much like “everlasting fire” and the “worm that does not die” describes scenes of earthy destruction in the pit of Gehenna. 

- The parable of Lazarus and the rich man draws upon a common ancient near eastern trope: the reversal of fortunes after death. In the parable is greatly fantastical: Lazarus, in death, is swept off by an angel to Abraham’s side; the rich man, in Hades, can look up, see, and speak to Abraham and Lazarus. The fairytale-like imagery in the parable raises a question: is this a literal account of the afterlife or an imaginative story, packaged in a common fable about a reversal of fortunes after death, used here to speak of God’s judgment on affluent Jewish elites who neglect the poor? Evidence for the latter: Hades, elsewhere in Scripture, does not seem to be represented as a place of torment.

(from the addendum video)

- Revelation, like Daniel, is an apocalyptic account of things unfolding at a certain point in history. Neither text was a prediction about the distant future and the fate of all humanity; their language speaks of places and impending events that would occur close to the times that the texts were written. The texts pertained to specific populations—Jews, the righteous and unrighteous, imperialist nations and their allies. 

Supplmental Content

A more extensive explanation of the parable of Lazarus and the rich man by Andrew Perriman.

Christine Hayes, Lecture 23 - Visions of the End: Daniel & Apocalyptic Literature (I recommend starting at minute 23 if the link doesn’t automatically take you there).

Lesson Art

Teaching of Jesus 14 of 40. Parable of the Lost Sheep by Jan Luyken

Christ separating the sheep and goats, Ca. 6th century, mosaic, Basilica of Sant’ Apollinare Nuovo

The Destruction of the Temple of Jerusalem by Poussin Nicolas