How did Granger and the other men carry their books?

In Fahrenheit 451, Granger and the other men and women at the camp of intellectual outlaws carry their books by not carrying them at all; they memorize the texts in order to avoid physically possessing them. By memorizing the texts, they essentially embody, or contain, the books, hoarding the words and information in their own heads. Their plan is to collect enough "criminals" who are willing to memorize the most important texts and consequently build a sort of library of people.
Granger memorizes Republic by Plato. Montag ends up with the assignment of memorizing the books of Ecclesiastes and Revelation from the Christian Bible.
Granger introduces the other men and women at the camp:

Here we all are, Montag. Aristophanes and Mahatma Gandhi and Gautama Buddha and Confucius and Thomas Love Peacock and Thomas Jefferson and Mr. Lincoln, if you please. We are also Matthew, Mark, Luke, and John.

The idea of memorizing the books rather than physically possessing shows the importance of one of the themes of Fahrenheit 451: the ideas and words of books are greater than the physical books themselves. Fahrenheit 451, for instance, contains themes and ideas bigger than the novel itself. It challenges society and the outrageous idea of banning texts.

Does Fences, set in 1957, still have relevance for the 21st century?

Yes, August Wilson's play Fences absolutely still has relevance in the 21st century. The setting of the play, in 1957, allows Wilson to explore how racial discrimination and oppression at the time impact the main characters; however, we must admit that racial inequity is still a problem in the United States in the 21st century, even if the context is not exactly the same as the setting of the play.
Further, the play is still relevant because it investigates universal themes and issues that readers in different time periods and places can relate to. The two main themes that I see in the play are the effects of dashed dreams and the difficulties of family dynamics. These are intertwined in Wilson's play, as Troy's disappointment with his life, namely with his athletic career, causes him to project anger onto his family, especially his son, Cory. Troy's wife, Rose, also suffers as a result of Troy's bitter demeanor. He feels like he is the one who has had to give up on his dreams to support a family, but she reminds him that she has been with him throughout it all. Troy does not seem to appreciate the sacrifices his wife makes and focuses only on himself. Troy also has extramarital affairs and ends up impregnating one of his mistresses. After his death, Rose helps to care for the little girl, which is an interesting take on forgiveness and family. The story of the Maxson family is poignant and realistic; it is a human story, with flawed relatable characters with whom readers now and in the future will still be able to connect.

In Beowulf, is Grendel an actual monster, a wicked man, or a symbol of immorality?

Grendel is indeed a very vicious monster, a fearsome, blood-thirsty creature waging a brutal war of terror and destruction against the Danes. What makes Grendel particularly scary is that there's no rhyme or reason to his wanton blood-lust; he appears to kill because it's in his nature to kill. And there's not much the Danes, or anyone else, can do to change that.
At the same time, there's something disturbingly human about Grendel's savagery. Then as now, there's sadly nothing unusual about the kind of bloodshed and suffering that Grendel inflicts with such gleeful abandon. Grendel's actions may be monstrous, but there's absolutely nothing he's done that hasn't already been done—and continues to be done—by so-called humans. In that sense, Grendel is a living embodiment of man's wickedness down the ages, with its callous disregard of the sanctity of human life.

I believe a reader could make a case for each of those labels about Grendel. I think it is legitimately possible to say that Grendel is all three as well.
Let us start with Grendel's morality. He is not a moral character. He is a murderous killing machine that eats people. That sounds pretty much like the antithesis of a moral character. In fact, it sounds eerily similar to the modern day character of Hannibal Lecter, and I do not believe anybody would say that he is a moral person. 
As for whether or not Grendel is a man or a nonhuman monster, I think he is human. I think that because of his ancestry:  

Grendel, who haunted the moors, the wild Marshes, and made his home in a hell Not hell but earth. He was spawned in that slime, Conceived by a pair of those monsters born Of Cain, murderous creatures banished By God, punished forever for the crime Of Abel's death.

Grendel is a descendant of Cain. In the Bible, Cain is guilty of fratricide, which is killing your own brother. Cain killed Abel, and God banished Cain. God also marked Cain and all of his future descendants. The story never says what the mark looks like, but it makes Cain clearly identifiable to anybody who sees him.
Because Grendel is a descendant of Cain (a human), I believe that Grendel is human. He is a demon-possessed, man-eating, violence-loving man, so I think it is safe to call him a monster as well.

What occurred during World War I and World War II that tested the nation's commitment to the rights and civil liberties of its people? Why did these things happen?

It is important, when considering domestic and social issues in the United States during the early part of the twentieth century, to keep in mind how recent was the seminal event of the previous century: the Civil War. The Founding Fathers of the United States of America had, during the Constitutional Convention and in the years that followed, failed to resolve key differences regarding slavery and the rights of those of African heritage. Unable to resolve those differences, the civil rights can was, so to speak, repeatedly kicked down the proverbial road until the question of Southern secession forced the issue. The war, and the period of Reconstruction that followed it, was still relatively fresh in peoples' minds, while the "Great Powers of Europe" moved inexorably toward the massive conflagration that would become known as "the Great War" and, later, as "World War I."
In addition to the continued denial of basic civil rights to the nation's African Americans, the United States had continued to deny certain rights to women, including, most notably, the right to vote. So, again, as war approached across the Atlantic Ocean, and as the United States struggled to reconcile its ideals with its practices, the issue of women's suffrage loomed large. The suffragette movement was gaining in strength as the twentieth century began, and as American troops were sent overseas to fight in the Great War, the debate in Washington, DC, over suffrage intensified. The result of this debate, as we know, was ratification, on August 18, 1920, of the 19th Amendment to the Constitution, the text of which reads:

"The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex."

Overlapping with this development in women's rights was the "Great Migration," the mass movement of African Americans from the segregated South to the more promising locales above the Mason-Dixon Line. 
While major developments on the civil rights front were being experienced, however, the Great War allowed for the passage of laws that were considered inimical to the aforementioned ideals upon which the country was founded. The first such law was the Espionage Act of June 15, 1917. As American entry into the war was underway, and in the context of specific German activities that helped propel the United States into the war on the side of England and France (i.e., the so-called "Zimmerman Telegram" and German submarine warfare affecting shipping between the United States and Europe), Congress passed legislation making it a crime to collect or provide information "respecting the national defense" the intent or purpose of which "is to be used to the injury of the United States, or to the advantage of any foreign nation...." In other words, do not get caught photographing potentially sensitive locations or buildings and certainly do not get caught passing those photographs to nationals of foreign nations with which the United States is at war.
The other legislation passed into law was the Sedition Act of 1918, a considerably more controversial measure that made it a crime to act in a manner deemed unpatriotic. While certain of the Sedition Act's provisions simply reinforced the provisions of the Espionage Act, this latter law went well beyond the earlier legislation by criminalizing disloyal actions that should have fallen within the constitutional protections outlined in the Bill of Rights. The Sedition Act specified as criminal the intentional conveyance of statements, written or spoken, that were "disloyal, profane, scurrilous, or abusive language about the form of government of the United States or the Constitution of the United States...." In addition, the Act made it a crime to interfere in the federal government's efforts at conscripting individuals into the Armed Forces or interfering in any way with the government's actions with respect to an ongoing war, in this case, the Great War.
The Espionage and Sedition Acts both represented serious challenges to the rights of Americans, and both were, obviously, passed in the context of American entry into and participation in the war.
As what would become known as World War II approached, the United States continued to be seriously divided on the issue of civil rights. While women had secured the right to vote, discrimination in the workplace continued, and, with respect to African Americans, racial segregation and other forms of discrimination continued to exist. The Great Depression had ravaged the economy of most industrialized nations, and massive unemployment figures only exacerbated the situation for black people and women already limited in opportunities. The Second World War, however, helped move the yardstick to a certain degree. With able-bodied men being sent to Europe and Asia to fight in the war, their jobs were filled by women. For black people, however, the situation remained dismal. The United States Army was segregated, with African Americans restricted to menial assignments because they were deemed inadequate for the discipline and rigors of combat--notions that were dispelled when they were finally provided the opportunity to serve their country in combat positions. In fact, both African American and Japanese American units were eventually formed, and both served with distinction. The sons of Japanese Americans interned by President Roosevelt after the Japanese attack on Pearl Harbor were eventually allowed to serve, and the 442 Infantry Regiment, comprised almost solely of such individuals, was the most highly decorated US unit in the war, while the Tuskegee Airmen, African American fighter pilots, similarly served heroically once given the chance.
The facts of World War II made the domestic status quo untenable with respect to minorities in the Armed Forces, and, on July 26, 1948, President Harry Truman signed Executive Order 9981 officially and effectively desecrating the Armed Forces of the United States.
Back on the home front, President Roosevelt had, early in American participation in the war, signed Executive Order 8802 (June 25, 1941), which established the Committee on Fair Employment Practices. This act made it unlawful to discriminate in the workplace on the basis of race, although, as we know, far more would need to be done to eliminate racial discrimination in the United States. While Roosevelt's action was intended to address problems experienced by black people working in factories that supported the war effort, the executive order served as a model for future legal measures.
These, then, are the main civil or human rights-related developments associated with American participation in the world wars. Of particular relevance was the ratification in the Second World War's aftermath, by the newly established United Nations, of the Universal Declaration of Human Rights, the text of which reiterated the fundamental rights guaranteed to all humans. 
https://www.nationalarchives.gov.uk/humanrights/1914-1945/

https://www.ourdocuments.gov/doc.php?doc=72

Examples of Direct and Indirect characterization in "Hunters in The Snow"

There are three named characters in Tobias Wolff's story "Hunters in the Snow": Tub, Frank, and Kenny. These three men are ostensibly friends, going out for a day of deer hunting in the land around Spokane, Washington. The direct characterization of each man is fairly sparse. We only know that:

Tub is fat, clumsy and ungainly.

Frank is a truck driver with hairy knuckles and a flashy gold ring.

Kenny has a mean sense of humor.
Most of the characterization is indirect, which contributes to the tense and uncomfortable tone of the story. Nobody's feelings are mentioned in the narrative; they must be gleaned from the context of their words and actions. We do not have a window into the mind of any character, so we can only assess them based on what they say about each other and themselves.

Tub is Frank's old friend, who feels he's been thrown over in favor of Kenny. The other men accuse him of "pissing and moaning," implying that Tub is a sensitive, neurotic sort of person. They mock his weight repeatedly, and Tub responds defensively, blaming his obesity on his "glands." It later transpires that Tub has a binge-eating disorder, which he describes as "pretty disgusting." He has a great deal of shame about his weight, shame which is complicated by his need for Frank's approval. When Frank calls him a "fat moron" and says, "You aren't good for diddly," Tub loses his temper and shakes Frank violently, demanding:

"No more talking to me like that. No more watching. No more laughing."

Tub values loyalty very highly. He and Frank used to be good friends, and he's hurt that Frank no longer seems to care for him:


"You've got a short memory," Tub said.
"What?" Frank said. He had been staring off.
"I used to stick up for you."

Later in the story, he tells Frank:

"Frank, when you've got a friend it means you've always got someone on your side, no matter what. That's the way I feel about it anyway."

He is willing to ignore any number of sins in the name of loyalty, which contributes to his indifference toward Kenny's plight at the end—Kenny is fundamentally less important than Frank, because Frank is Tub's friend, and Kenny is not.

Frank used to be Tub's friend but seems to have started pulling away from him in favor of Kenny. He is positioned quite literally between Tub and Kenny in the truck at the beginning of the story, and both of them look to him repeatedly for approbation. He has a wife and children, but he is in love with the children's 15-year-old babysitter. He knows his interest in the girl is morally dubious, and he tries to justify it to Tub, while at the same time admitting that he is a selfish person:

"I guess I've just been a little too interested in old number one . . . I guess you think I'm a complete bastard."

Frank is pragmatic and clearly the leader of the group. When Tub shoots Kenny, Frank stays calm, gets directions to the nearest hospital, and loads Kenny into the bed of the truck. He has no loyalty to either Kenny or Tub, however. At the beginning of the story, he is allied with Kenny, leaving Tub behind in the winter woods, mocking him for his weight, disparaging his intelligence, and accusing him repeatedly of "bitching." Once Tub shoots Kenny, Frank switches smoothly over to Tub as if he and Kenny had no relationship at all:

"Tub," Frank said. "what happened back there, I should have been more sympathetic. I realize that. You were going through a lot. I just want you to know it wasn't your fault. He was asking for it."


This might seem like genuine sympathy to a friend in a bad situation, but Frank complicates it by actively disregarding Kenny's health and safety while lavishing attention and affection on Tub. They stop not once, but twice, on their way to the hospital, and leave Kenny in the truck to bleed and freeze. Frank soothes Tub's self-loathing by inviting him to indulge his eating disorder, and it becomes evident that Frank does this to strengthen Tub's loyalty to him when he reveals that he has a sexual interest in his children's underage babysitter. Tub is initially very uncomfortable, and says the girl is too young, but Frank talks circles around him and Tub ends up believing that Frank's interest in the girl is justified, because Tub's loyalty comes before any other considerations. In fact, he feels privileged to have been told of Frank's illicit desire—exactly as Frank intended he should feel:


"You know," Tub said, "what you told me back there, I appreciate it. Trusting me."
Frank opened and closed his fingers in front of the nozzle. "The way I look at it, Tub, no man is an island. You've got to trust someone."

Frank's behavior is so calculating, it's disturbing, and the reader is left wondering if he cares about anyone.

Kenny is the odd man out of the three. He enters the story by pretending to drive his car into Tub, a cruel prank which frightens Tub and causes Kenny to double up with laughter. The stunt was apparently performed for Frank's enjoyment:

[Kenny] was bent against the steering wheel, slapping his knees and drumming his feet on the floorboards. He looked like a cartoon of a person laughing, except that his eyes watched the man on the seat beside him.

Kenny doesn't have Tub's sense of loyalty, though; everything is a joke to him. He threatens to reveal Frank's interest in the babysitter when Frank tells him to shut up:


"That's between us," Frank said, looking at Kenny. "That's confidential. You keep your mouth shut."
Kenny laughed.


He spends the day mocking Tub and occasionally Frank. He's angry that they're not having any luck hunting, and blames it on Tub for failing to notice deer tracks earlier in the day.

Kenny swore and threw down his hat. "This is the worst day of hunting I ever had, bar none." He picked up his hat and brushed off the snow. "This will be the first season since I was fifteen I haven't got my deer."

In a juvenile display of temper, he picks up his rifle and shoots a fence post and then the dog at the nearby farmhouse. He turns his gun on Tub last and says "I hate you," when Tub, in genuine fear, shoots him instead. Kenny is shocked: like most bullies, he never expected his victim to fight back.

"I was just kidding around," Kenny said. "It was a joke."

Tub and Frank load Kenny into the bed of the truck to drive him to the hospital, but they decide to renew their friendship in preference to getting Kenny medical care. He is freezing cold and bleeding to death for the latter half of the story, trusting that Tub and Frank will take him to get help. It turns out that shooting the fence post was a stupid act of aggression, but that shooting the dog was actually a favor Kenny agreed to do for the farmer at the farmhouse; he did not kill it in anger. Kenny is mean-spirited and immature, but not actually a dangerous person. Tub, who is a slave to his emotions and appetites, is more dangerous than Kenny, who did not shoot someone in a rage. And Frank, who is coldly detached from everything except what is best for himself, is far more dangerous than either of them, because Frank only does what Frank wants to do, very deliberately, and careless of the consequences to others.
All of this characterization is present in the story, but you must read between the lines to extract it. The text itself does not yield up any information without interrogation.

Single Variable Calculus, Chapter 8, 8.2, Section 8.2, Problem 52

Find the indefinite integral $\displaystyle \int \sin^3 x \cos^4 x dx$. Illustrate by graphing both the integrand and its antiderivative (taking $c = 0$).

$
\begin{equation}
\begin{aligned}
\int \sin^3 x \cos^4 x dx &= \int \sin^2 x \sin x \cos^4 x dx \qquad \text{Apply Trigonometric Identity } \sin^2 x + \cos^2 x = 1 \text{ for } \sin^2 x\\
\\
\int \sin^3 x \cos^4 x dx &= \int \left( 1 - \cos^2 x \right) \sin x \cos^4 x dx\\
\\
\int \sin^3 x \cos^4 x dx &= \int \left( \cos^4 x - \cos^6 x \right) \sin x dx
\end{aligned}
\end{equation}
$

Let $u = \cos x$, then $du = -\sin x dx$, so $\sin x dx = - du$. Thus,

$
\begin{equation}
\begin{aligned}
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \int \left( u^4 - u^6\right) - du\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \int - \left( u^4 - u^6\right) du\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \int \left( u^6 - u^4 \right) du\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \frac{u^{6+1}}{6+1} - \frac{u^{4+1}}{4+1} + c\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \frac{u^7}{7} - \frac{u^5}{5} + c\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \frac{(\cos x)^7}{7} - \frac{(\cos x)^5}{5} + c\\
\\
\int \left( \cos^4 x - \cos^6 x \right) \sin x dx &= \frac{\cos^7 x }{7} - \frac{\cos^5 x}{5} + c
\end{aligned}
\end{equation}
$

Are Pokemon based on mythological creatures?

In many cases, yes! While a lot of Pokémon are based on animals from the real world, and all are at least the partial product of the creators’ vivid imaginations, many Pokémon are drawn from world mythology. Japan, where the Pokémon franchise originates, has a particularly rich tradition of myths and legends of kami—gods, deities, or spirits—and the spookier yokai—demons and ghosts. Worship of kami and tales of yokai and other supernatural beings have their origins in Japan’s native religion of Shinto, which predates the arrival of Buddhism in the islands. Shinto is an animist tradition, which means it teaches that trees, rivers, rocks, animals, and even inanimate objects are alive with spiritual energy. Much like the gods and spirits of Shinto belief, Pokémon inhabit the natural world, and can be won over with incense, food (or candy), and other offerings.
There are thousands of kami and yokai described in Shinto teachings and Japanese folklore, and they have served as a source of inspiration for art and literature for thousands of years—and, more recently, for anime and games like the brand-new Pokémon Go. Let’s take a closer look at some kami- and yokai-based Pokémon and their mythological counterparts.
Whiscash. The inspiration for Whiscash, the Water/Ground-type Pokémon who evolves from Barboach, comes from the myth of Namazu, a giant catfish said to live in the mud beneath the Japanese archipelago. Like Whiscash, Namazu has the power to cause earthquakes by thrashing in the mud—but on a much bigger scale. The only thing restraining this mythic fish’s immense power is the stone the thunder kami known as Kashima uses to pin him in place. The legend of Namazu may have evolved from a belief among Japanese fishermen that catfish became more active just before an earthquake, just like how in several of its Pokédex entries, Whiscash is reported to be able to cause tremors as well as warn of them. After a devastating earthquake shook Japan in 1855 (during what is known as the Edo Period), people began to worship Namazu as a god who could right the wrongs he and others had caused. Accordingly, artists began to depict Namazu in colorful woodblock prints—where the catfish deity is often shown wearing a big smile that looks a lot like Whiscash’s goofy grin.
Ninetales. Ninetales, the fox-like Fire-type that evolves from Vulpix, is the Pokémon version of a kitsune, or fox spirit. In Japanese folklore, foxes are considered intelligent, magical, and particularly long-lived beings able to shape-shift into human forms, and while they sometimes use this ability to make mischief, there are also stories of fox spirits befriending and even marrying ordinary humans. Similarly, Ninetales is intelligent enough to understand human speech, magical enough to control minds, and can live up to a thousand years—but like the kitsune in its role as a trickster, Ninetales can also be a vengeful creature. Kitsune are said to gain an extra tail every hundred years, and just like Vulpix when it evolves into Ninetales, a fox spirit “evolves” when its number of tails reaches nine, and its fur turns golden-white. When a kitsune gains its ninth tail, it supposedly reaches a state of infinite wisdom—pretty impressive! The prosperity kami Inari is considered their guardian, and has a fleet of nine-tailed white foxes for messengers.
Espeon. Tales of the yokai known as bakeneko, or “changed cats,” provide the inspiration for Espeon, the Psychic-type final form (or Eeveelution) of the lovable Pokemon known as Eevee. In yokai lore, a cat was sometimes said to change into a bakeneko when it lived to be a certain age, and/or when it developed a second tail—similar to the split tail Espeon sports. Also like Espeon, which uses its psychic abilities to protect its Trainer and predict the weather or its opponent’s next move, these cat spirits were said to possess supernatural powers similar to those of kitsune, including speaking Japanese, transforming into humans, cursing or possessing people, and—most terrible of all?—dancing with napkins on their heads.
Drowzee. If you’ve been playing Pokémon Go, you may have already encountered a few Drowzees in the wild. These Psychic-type Pokémon, which evolve into Hypno, are inspired by a type of supernatural creature—not a yokai, but not quite a kami either—known as the baku. According to legend, these beings were formed from the spare parts left over after the gods had finished creating all the other animals, leaving them with a tapir-like appearance similar to Drowzee’s, which has been depicted in Japanese art for hundreds of years. And just like their Pokemon counterparts, baku are known for eating people’s dreams. While Drowzee prefers good dreams and can become sick from eating bad ones, baku could traditionally be called upon to come and eat the nightmares of restless sleepers.
Frosslass, Jynx, Mawile, and Misdreavus. These unusual-looking Pokémon are all drawn from legends of spooky female yokai. Frosslass, the Ice/Ghost-type evolution of Snorunt, is based on Yuki-onna, a spirit who floats around on snowy nights (and in some versions of the tale, has no feet), freezing lost travelers dead in their tracks in her white kimono. Just like Yuki-onna, Frosslass can be found in snowy areas, hovers above the ground, has no feet, and freezes her opponents. Her body resembles a white kimono. Yuki-onna and Frosslass are both sometimes said to be the spirits of women who froze to death in the mountains—and if that doesn’t give you the chills, I don’t know what will!
Well, maybe this: Jynx, an Ice/Psychic-type that evolves from baby Smoochum, is based on another terrifying spirit: the yokai known as Yama-uba, who lives alone in the snowy mountains and, rather than freezing lost travelers, prefers to snack on them. And while Jynx’s signature dance moves are her attempt to communicate with humans, when Yama-Uba dances, watch out—that’s how she distracts her victims before turning them into her dinner! Interestingly, Jynx is also considered a parody of a certain Japanese fashion trend called ganguro and nicknamed yamanba by those who thought these trendsetters’ bleached hair, eye-catching clothes, and heavy makeup made them look like Yama-Uba, whose appearance and story were immortalized in the form of Japanese theater known as Noh drama.
The Steel/Fairy-type Pokémon called Mawile is based on another type of yokai called a futakuchi-onna, or “two-mouthed woman.” A futakuchi-onna looks like an ordinary woman at first—until you catch a glimpse of the second mouth on the back of her head, which, in stories, often demands an endless supply of food. Mawile, on the other hand, uses the powerful jaws on the back of its head to bite its enemies in battle, often using its otherwise cute appearance to distract them.
The equally creepy Misdreavus is based on the yokai known as nukekubi—disembodied women’s heads said to fly around at night shrieking and scaring people. Sound familiar? Like the nukekubi, Misdreavus resembles a bodiless head in a dress, floats through the air, feeds on fear, and enjoys a good shriek.
Manectric. On the less eerie side, the blue, wolf-like, Electric-type Pokémon called Manectric was inspired by Raiju, the mythic animal companion of Raijin, the Shinto kami of thunder and lightning. While Raiju, whose body is said to be made of lightning, can take several different shapes, he is commonly depicted as a blue wolf. Similarly, Manectric is supposedly born from lightning, which it also gathers in its mane and uses to create the thunderclouds it deploys in battle. One trait the two don’t share, however, is Raiju’s supposed penchant for sleeping in people’s belly buttons! This bit of lore may have arisen as a way to warn kids of the danger of going out to play during thunder and lightning storms.
Absol. This mysterious Pokémon is based on a mythical being known as the kutabe. Stories of this legendary creature came to Japan from China, where it was known as Bai Ze. Absol and the kutabe are both known for coming down from the mountains to warn humans of the oncoming disasters they are able to sense (in Absol’s case, through its horn), and the oval in the middle of Absol’s forehead echoes the third eye the kutabe is said to possess.
Many other Pokémon are either directly based on or draw some inspiration from Japanese folklore and Shinto belief: Ho-oh is based on Ho-o, the phoenix; Shiftry is based on a spirit known as a tengu; Sneasel is based on a kamaitachi, a weasel-like creature with sickle-like claws; Dunsparce is based on a tsuchinoko, or “bee snake”; Dusclops is inspired by the chochin-obake, or “lantern spook” yokai; Tornadus is inspired by Fujin, the wind kami; and the list goes on. So just remember: when going out to catch magical monsters with Pokémon Go, be careful you don’t get swept up by a band of marching yokai while you’re absorbed in the game. In Japan, the spirits have been said to congregate on summer nights in what is known as the hyakki yagyo—the Night Parade of One Hundred Demons!