this post was submitted on 22 Sep 2025
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Xolotl was the dog god of the Mexica people, commonly known as the Aztecs. He is represented in codices, statuary, and other extant examples of Aztec art as a dog or a god with the head of a dog. While this figure might seem obscure, his name and role echo into the present day through a critically endangered amphibian, a scruffy but loyal companion on an adventure to the afterlife, and, perhaps unsurprisingly, a breed of hairless dog.

Etymology & Associations

The name Xolotl comes from the Nahuatl language and is pronounced "SHOH-lot", with the emphasis on the penultimate syllable as is usual with words in Nahuatl. Xolochaui, another word in the Nahuatl language, means "to wrinkle or double over," and Xolotl himself is often depicted in art with deep grooves in the skin of his face.

His name was synonymous with the Nahuatl term for twin, xolotl, and appeared in the word for the double maguey, mexolotl, a plant that had a number of uses in Aztec culture, including bloodletting rituals, the creation of fibrous rope, and the brewing of pulque.

While twins were generally seen as a bad omen and viewed with trepidation in the Aztec civilization, Xolotl was the patron god of twins and individuals with physical abnormalities, which were a subject of fascination in Mesoamerican cultures. "In Olmec art representations of dwarves and hunchbacks abound. Rather than being objects of derision, these individuals are often portrayed with great supernatural powers" (Miller & Taube, 75). According to one source, individuals with physical abnormalities were referred to as xolome. Indeed, xolotl is also the Nahuatl name for courtly pages. These pages were often individuals with physical abnormalities, some of whom, like those in the court of Motecuhzoma II (commonly known as Montezuma), entertained the tlatoani and sometimes advised him on matters pertaining to Aztec religion and government. Likely referencing Xolotl, two-headed dogs and figures with hunched backs and dwarfism appear frequently in the Protoclassical ceramic art of West Mexico.

Psychopomp & Companion to Quetzalcoatl

While dogs were primarily bred in Mesoamerica for use as food and were considered by the Aztecs to be unclean and unvirtuous creatures, they were also regarded as companions and guides to their masters in death. As Miller and Taube note, "In both Aztec and Maya belief, dogs, perhaps embodying the role of Xolotl, guided their masters into the Underworld after death and were of particular use in crossing bodies of water" (80).

As the canine companion to the powerful god Quetzalcoatl, also known as Ehecatl-Quetzalcoatl in his manifestation as a wind god, Xolotl is depicted in art wearing the wind god's emblematic conch shell pectoral, which was known in Nahuatl as ehecailacacozcatl, "wind jewel." Through this relationship, Xolotl was associated with the evening star, mirroring Quetzalcoatl's identification with the morning star under which role he was called Tlahuizcalpantecuhtli, "Lord of the Dawn." According to Manuel Aguilar-Moreno in his book Handbook to Life in the Aztec World, Xolotl accompanied Quetzalcoatl on his mission to retrieve bones from the underworld in order to create humanity, a role consistent with his canine nature in the Mesoamerican imagination.

Creation of the Fifth Sun

Xolotl also appears as a reluctant sacrifice in the Aztec myth of the creation of the fifth sun. After the destruction of the four preceding suns, the gods come together at Teotihuacan to witness a sacrifice that will create a new sun and moon. This fifth sun – Nahui Ollin, meaning 4 Motion – and its moon are born from the sacrifice of two gods, Nanahuatzin and Tecciztecatl, respectively. But even after the sun and moon are created, the gods find that they will not move without further sacrifice, at which point they begin to line up to give their lives to the cause. Aguilar-Moreno writes, "While both celestial bodies had appeared, neither moved. Understanding this as a sign of their fate, the gods freely accepted death, sacrificing themselves…and offering their own blood, or chalchiuatl (precious water) to generate movement of the Sun" (Aguilar-Moreno 2006, 161)

Whether in the form of a Pokémon, psychopomp, or puppy, Xolotl has left a small legacy in the modern world, providing an opportunity for those aware of his unique history to look into the living likeness of an Aztec god.

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[–] Mindfury@hexbear.net 9 points 1 week ago (1 children)

NOTE: I AM NOT RELITIGATING A STRUGGLE SESSION, BUT ADDING SOME INFO TO A DAY OLD POST I MISSED BUT WAS DIRECTLY TAGGED IN

Regarding the post about the film Together (2025) and edits made to/censorship of the chinese theatrical release:

Hey, so I was out all yesterday and completely missed this thread and ensuing light struggle session but I'll give some additional context as I know it:

The writer & director had no fucking idea lmao, he was completely blindsided by the changes and only found out when journalists in China (as to who they work for, no idea soz) started asking him questions about editing the cut and sent him basically the same screenshot (i think from a different platform, caption was different but it's the exact same comparison screenshot of the film). He first found out on the 15th. There are some other funny edits, such as additional steam vfx blurring Dave Franco's bare ass in the shower scene and some others he hasn't dropped in the group chat.

Seems like the producers & Neon people were claiming to have had no idea either, as they all apparently went straight to the lawyers after a day or so and were basically asking Michael to make the decision on whether to completely pull from China or not as they had 'clear breaches' of contracts and literal 'admissions' that the film had been altered without consent. At this point he's not making any additional money on where it's being distributed, so allowing him the decision to completely pull it and lose someone millions seems like an admission that someone fucked up/gambled wrong.

Without having read the thread for any investigation on the intricacies of film distribution in China, I can only go off a conversation we had last week when we were halfway to getting decently drunk and watching Salo at a cinema on Wednesday night. It seems like he's been told by various legal people/producers that this happens a bit - The distributors buy it and just make changes without authorisation to seemingly pre-empt the ratings/censor's office and hope that the hollywood crackers either never find out or care. As to whether it is a case of pre-alteration before submission to the gov, changes made by the gov / requested alterations, or even a sneaky recut provided to the chinese distributor without the director's knowledge, I can't say for sure. There seemed to be some suggestions that Michael's legal could demand that some alterations be reversed and have the distributor resubmit the film, which lends a bit of credence to the idea that distributors just fucking do this but go too far, self-censoring beyond necessity before even seeking gov approval or a film rating/classification.

Either way, the whole thing was a bit overshadowed by his second film being greenlit, but he was legitimately pissed at the alterations and now having to make a choice where he could be perceived as throwing LGBTQIA+ people under the bus for money (when he makes no additional money whatsoever from the film being distributed anywhere) or being seen as sinophobic and getting no traction in China ever again if he pulls it or blames anyone in China for the issue.

unrelated, but apparently the film was doing quite well in russia.

[–] Mindfury@hexbear.net 6 points 1 week ago

Also, yes Salo is a particularly disgusting film but I think I get it

the critique of fascism and fash/nazi occultism, regularly under the drone of impending doom of bombers flying overhead, was definitely interesting. it was still incredibly fucked up though, even if i have seen more shocking imagery/footage around the internet