Helios Helius, in ancient Greek religion and myth, is the god and personification of the Sun depicted in art with a radiant crown and driving a horse-drawn chariot through the sky. Though Helios was a minor deity in Classical Greece, his worship grew more prominent in late antiquity thanks to his identification with several major solar divinities of the Roman period Apollo and Sol; the Roman Emperor Julian made Helios the central divinity of his short-lived revival of traditional Roman religious practices in the 4th century AD. Helios figures prominently in several works of Greek mythology and literature, in which he is described as the son of the Titans Hyperion and Theia and brother of the goddesses Selene and Eos; the Greek ἥλιος is the inherited word for the Sun from Proto-Indo-European *seh₂u-el, cognate with Latin sol, Sanskrit surya, Old English swegl, Old Norse sól, Welsh haul, Avestan hvar, etc. The name Helen is thought to share this etymology and may express an early alternate personification of the sun among Hellenic peoples.

The female offspring of Helios were called Heliades. The Greek sun god had various bynames or epithets, which over time in some cases came to be considered separate deities associated with the Sun. Among these is Hyperion, Phaëton "the radiant", Hekatos. Helios is depicted as a handsome young man crowned with the shining aureole of the Sun who drove the chariot of the Sun across the sky each day to Earth-circling Oceanus and through the world-ocean returned to the East at night. In the Homeric Hymn to Helios, Helios is said to drive a golden chariot drawn by steeds. Still the horses were given fire related names: Pyrois, Aeos and Phlegon; the imagery surrounding a chariot-driving solar deity is Indo-European in origin and is common to both early Greek and Near Eastern religions. The earliest artistic representations of the "chariot god" come from the Parthian period in Persia where there is evidence of rituals being performed for the sun god by Magi, indicating an assimilation of the worship of Helios and Mithras.

Helios is seen as both a personification of the Sun and the fundamental creative power behind it and as a result is worshiped as a god of life and creation. Homer described Helios as a god "who gives joy to mortals" and other ancient texts give him the epithet "gracious", given that he is the source of life and regeneration and associated with the creation of the world. One passage recorded in the Greek Magical Papyri says of Helios, "the earth flourished when you shone forth and made the plants fruitful when you laughed and brought to life the living creatures when you permitted." L. R. Farnell assumed "that sun-worship had once been prevalent and powerful among the people of the pre-Hellenic culture, but that few of the communities of the historic period retained it as a potent factor of the state religion"; the Attic literary sources used by scholars present ancient Greek religion with an Athenian bias, according to J. Burnet, "no Athenian could be expected to worship Helios or Selene, but he might think them to be gods, since Helios was the great god of Rhodes and Selene was worshiped at Elis and elsewhere".

James A. Notopoulos considered Burnet's distinction to be artificial: "To believe in the existence of the gods involves acknowledgment through worship, as Laws 87 D, E shows". Aristophanes' Peace contrasts the worship of Helios and Selene with that of the more Greek Twelve Olympians, as the representative gods of the Achaemenid Persians; the island of Rhodes was an important cult center for Helios, one of the only places where he was worshipped as a major deity in ancient Greece. The worship of Helios at Rhodes included a ritual in which a quadriga, or chariot drawn by four horses, was driven over a precipice into the sea, in reenactment to the myth of Phaethon. Annual gymnastic tournaments were held in Helios' honor; the Colossus of Rhodes was dedicated to him. Helios had a significant cult on the acropolis of Corinth on the Greek mainland; the Dorians seem to have revered Helios, to have hosted His primary cult on the mainland. The scattering of cults of the sun god in Sicyon, Ermioni and Laconia, his holy livestock flocks at Taenarum, seem to suggest that the deity was important in Dorian religion, compared to other parts of ancient Greece.

Additionally, it may have been the Dorians. The tension between the mainstream traditional religious veneration of Helios, which had become enriched with ethical values and poetical symbolism in Pindar and Sophocles, the Ionian proto-scientific examination of the sun, a phenomenon of the study Greeks termed meteora, clashed in the trial of Anaxagoras c. 450 BC, in which Anaxagoras asserted that the Sun was in fact a gigantic red-hot ball of metal. His trial was a forerunner of the culturally traumatic trial of Socrates for irreligion, in 399 BC. In Plato's Republic, the Sun, is the symbolic offspring of the idea of the Good. While the predominance of Helios in Sparta is unclear, it seems Helen was the local solar deit

Zenith (comics)

Zenith was a story about a British superhero, which appeared in the British science fiction comic 2000 AD. Created by writer Grant Morrison and artist Steve Yeowell, with original character designs by Brendan McCarthy, it first appeared in 2000 AD #535; the character Zenith first appeared in the second episode – the first episode set the backdrop for his introduction. Shallow and sarcastic, Zenith was a distinctly Generation X superhero. Morrison used the Zenith serial to explore cultural differences between generations and criticise the Conservative Party. Zenith was featured in 2000 AD from 1987 until 1992, with occasional appearances since; the series was an early success for Morrison, who has since written popular works for DC and Marvel, using his own characters. The first series won the 1987 Eagle Award for Continuing Story. Zenith appeared in August 1987 during a period when editor and assistant editor, Steve MacManus and Richard Burton were shaking up 2000 AD by publishing numerous new stories which gave fresh talent a chance.

Grant Morrison had been thinking along the lines of Zenith since 1982, but "he original version had a more traditional superhero costume and was a little grimmer in tone," and the final concept came together as "... a reaction against torment superheroes." Despite liking both Dark Knight and Watchmen, he felt that "... both books felt pompous and concept albumy to me as a young man in the'80s." He found more of an influence in the work of Brendan McCarthy: "... tell the truth on to the page and let your psyche all hang out," and it was McCarthy who would provide the initial character designs, although he never drew the actual story, because Morrison said "... the story as it unfolded would have been too ponderous and long-winded for him."With hindsight, Morrison stated, "I like Phase I the least now –- it wears its influences a little too on its sleeve." He rated Phase III far higher, saying, "I think it is one of the greatest superhero crossover events ever."In America, Zenith Phases I and II were reprinted in colour in Fleetway/Quality's monthly 2000 A.

D. Showcase title, beginning in the jointly-numbered issue 29/30, running through issue 45; these issues featured new covers by American comic book artists such as Jackson Guice, Tom Lyle, Bart Sears. According to the series' index at the Grand Comics Database, "The end of the Phase II storyline was the end of the Zenith reprints, as Phase III was still in progress in the British weekly, it ended in March of 1990, but by that time this magazine was about to be cancelled."Zenith returned for Phase IV in 1992 but Morrison's attention was elsewhere: "I'd moved on and was more excited by the possibilities of working with American superheroes. By 1992, Zenith seemed like something dragged up from my past." However, that does not mean he thinks any less of the story: "I like a lot of things I write under duress. I really like the last book of Zenith. I'm fond of it."Titan Books published five trade paperbacks of Zenith between 1988 and 1990, collecting Phase I through III. However, for years after that, attempts to re-publish the series were prevented by a copyright dispute between the publisher and Morrison.

In 2007, Morrison said, "Fleetway have no paperwork to confirm their ownership of Zenith, so I'm involved in legal proceedings to clear things up."On 29 May 2013, British publishing company Rebellion Developments announced that they were publishing a complete collection as a hardcover book limited to 1000 copies. The book sold out within two days of being announced and the delivery date was brought forward to early October; the book has a nearly exhaustive collection of covers and pin-ups. Whilst parties involved in ongoing legal proceedings are, as a rule, barred from speaking publicly of them, it appears that Morrison has been unsuccessful in halting that initial publication. Zenith Books 1 and 2 could be pre-ordered for a December 2014 launch through mainstream distribution chains. In September 2017 a new Zenith text story, "Permission to Land," appeared in prog 2050, with a new illustration by Steve Yeowell. Zenith appeared in a story unconnected to the Zenith universe – "A Night 2 Remember," a strip about the comic's 25th anniversary celebrations, which appeared in prog 1280.

Robert McDowell, alias Zenith, was the son of two members of Cloud 9, a super-team of the 1960s assembled by the British military who had rebelled and become hippies and psychedelic fashion icons. Zenith himself used his Biorhythm dependant super-human abilities, not to fight evil, but to promote his career as a pop singer. Shallow, self-centred and cowardly, he was reluctantly dragged into the struggle against malevolent, supernatural entities known as the Lloigor or "Many-Angled Ones"; the British superhuman project "Maximan" had emerged from work brought over by defecting Nazi scientists in World War II, in turn, having been developed from knowledge obtained from the Lloigor. The Nazis had created "Masterman", but the real purpose of the project was to produce host bodies strong enough to house the Lloigor's spirits. Due to those circumstances, within the story's alternate history, Berlin was the target of the first nuclear weapon, not Hiroshima or Nagasaki because both the British and Nazi supermen were fighting in Berlin at the time.

The British superheroes came of age during the tumultuous'60s, promptly rebelled, as did many teens of that time. Zenith's parents were killed other members of Cloud 9 disappeared, the few remaining lost their powers and

Miyamae-ku, Kawasaki

Miyamae-ku is one of the 7 wards of the city of Kawasaki in Kanagawa Prefecture, Japan. As of 2010, the ward had an estimated population of 217,251 and a density of 11,670 persons per km²; the total area was 18.61 km². Miyamae Ward is located in eastern Kanagawa Prefecture, in the south-center portion of the city of Kawasaki, bordering on Yokohama. Tama-ku, Kawasaki Takatsu-ku, Kawasaki Asao-ku, Kawasaki Aoba-ku, Yokohama Tsuzuki-ku, Yokohama Archaeologists have found numerous Kofun period remains at numerous locations in what is now Miyamae-ku, indicating a long period of human settlement. Under the Nara period Ritsuryō system, it became part of Tachibana District Musashi Province. In the Edo period, it was administered as tenryō territory controlled directly by the Tokugawa shogunate, but administered through various hatamoto. Due to its proximity to Edo, it was an agricultural and horticultural area supplying produce to the city. After the Meiji Restoration, the area was divided into Miyamae Village and Mukaoka Village within Tachibana District in the new Kanagawa Prefecture on April 1, 1889.

These areas were annexed by the neighboring city of Kawasaki in 1938. The area became part of a huge government sponsored housing project from the 1960s. In April 1972, the area became part of Takatsu Ward with the division of the city of Kawasaki into wards. In July 1982, Miyamae Ward was separated from Takatsu Ward. Miyamae Ward is a regional commercial center and bedroom community for central Kawasaki and Tokyo. Tokyu CorporationTōkyū Den-en-toshi Line / Tōkyū Ōimachi Line Miyazakidai - Miyamaedaira - Saginuma Tōmei Expressway Japan National Route 246 National Route 466 Kanagawa Prefectural Road 13 Kanagawa Prefectural Road 45 Streetcar & Bus Museum St. Marianna University School of Medicine Miyamae-ku Guidebook, 2005..