Ok. I’m tired of the typical vampire, werewolf and fairy.I’m also tired of the occidental-centrism in mythology. Hence, this list.
I tried to include as many cultural variants as I could find and think of. (Unfortunately, I was restricted by language. Some Russian creatures looked very interesting but I don’t speak Russian…) Please, add creatures from your culture when reblogguing (if not already present). It took me a while to gather all those sites but I know it could be more expansive. I intend on periodically editing this list.
Of note: I did not include specific legendary creatures (Merlin, Pegasus, ect), gods/goddesses/deities and heroes.
There’s Ascalon, the lance (or in some versions, sword) that Saint George used to kill that dragon you might have heard about.
There was Joyeuse, the sword of Holy Roman Emperor Charlemagne, which was said to contain bits of the Spear of Longinus in its pommel.
Charlemagne’s paladin Roland had a sword called Durendal, which had in its hilt one of St Peter’s teeth, St Basil’s blood, a hair of St Denis, and a scrap of cloth that belonged to the Virgin Mary. It was said to be the sharpest sword that ever existed. (As long as I’m naming swords from the Song of Roland, Ogier the Dane’s magic sword was called the Courtain, and Almace was the sword of Turpin, Archbishop of Rheims.)
Saint Ferdinand III of Castile had a legendary sword called Lobera (“the wolf slayer”).
There’s the sword of Saint Peter, which he used to cut off the ear of a guard who came to arrest Jesus before the crucifixion, but it’s legend is not particularly badass, except in some legends it was given to Saint George, which is pretty cool except obviously he killed the dragon with that spear I was talking about a few paragraphs ago.
There’s the Sword of Mercy, which belonged to Edward the Confessor. It’s a sword with its tip broken off; it’s said an angel broke the tip off to prevent a wrongful killing. The sword remains today as part of the British Crown Jewels as a symbol of regal mercy.
More Judeo- than Christian, but the Seal of Solomon was a magical ring that King Solomon used to summon, control, and imprison demons.
There’s a few, anyway. I know they’re mostly swords, but I’m not aware of any Blessed C-4 out there (please do not say Holy Hand Grenade, nerds out there). Some of these might be of dubious Catholicity, but they all at least have something to do with a saint or a relic, so there you have it.
“What is a fantasy map but a space beyond which There Be Dragons?”
–Terry Pratchett, The Color of Magic
The collection of articles known as the “Elanterra Journal” consists of a series of scholarly entries detailing the geography, culture, and lifestyles of the inhabitants of the Grand Island. These documents have been published, banned, translated and studied for centuries, and their history is so muddied at this point that little, if anything can be ascertained about the identity or purpose of the original authors. Translators and copiers make a habit of updating information whenever a new copy is produced, and it is traditional to include some small factual errors of the scribe’s invention in each new edition.
Although the earliest known editions can be traced back to Carabos Academy and were probably produced in the late 600′s, these copies are far from extant. Records prior to this time are unreliable due to the ancient wars. Further confusion exists as to what entries are ‘canon’ articles and which are forgeries or later additions. I have taken it upon myself to reconcile these versions as much as possible, and provide a definitive edition. It is my hope that such a volume will prove scholarly insight into the work as well as a boon to travelers across Elanterra.
Master of Thaumaturgical Studies,
“Elanterra Journal” is a look into the People, Places, and history of the Island of Elanterra, the setting of the Freelance Hunters stories. “Glory’s Gauntlet,” an ebook collection of four Freelance Hunters stories is available from Amazon and Smashwords.
“Balls are actually notoriously weak, far as parts of the body go. I mean, I could catch a wiffle ball in the crotch and double over in misery. The testicles are very sensitive and about as strong as a couple of raw quail eggs rolling around in a set of fishnet stockings. You wanna be hardcore, dang, grow a vagina. Those things are built Ford tough, man. The vagina is like the Incredible Hulk of the human form. It does all the heavy lifting. You ever see a woman give birth to a child? You see that, you’re like, “That thing could lift a burning car if it had to.” If anything, the entire scope of masculine history has been an epic attempt at trying to convince the world that the vagina is tissue paper and our balls are titanium. It’s a huge and ugly ruse.”—
“Where do I get my ideas from? You might as well have asked that of Beethoven. He was goofing around in Germany like everybody else, and all of a sudden this stuff came gushing out of him. It was music. I was goofing around like everybody else in Indiana, and all of a sudden stuff came gushing out. It was disgust with civilization.”—Kurt Vonnegut (via dan-hill)
In 5 days my Kickstarter has raised $805 of the $4,380 goal. It’s doing well, but it can use more help. If you feel like helping out, please reblog this! This book has been over 6 years in the making, and I know people are going to love it once it’s out (everyone who has purchased the first one has loved it).
I took the day off to draw a comic about something that I’ve never really discussed with anyone before - at least not all of it. I don’t know why I felt the need to do this NOW - this was about three years ago, my sophomore year of college. And I use the term “comic” loosely because it’s really just a series of scribbled pictures - I may try to clean it up at some point. And it’s pretty long so it’s under a cut.
If you remember my Holy Ghost comic, it took place at about the same time as this.
I should say there are probably some trigger warnings for self-harm, suicide, and (maybe) eating disorders under there - it’s not as bad as it sounds I promise, but be warned.
“When wealth is passed off as merit, bad luck is seen as bad character. This is how ideologues justify punishing the sick and the poor. But poverty is neither a crime nor a character flaw. Stigmatise those who let people die, not those who struggle to live.”—Sarah Kendzior, A government shutdown, a social breakdown (via randomactsofchaos)
If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Domingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”
And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.
And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.
It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.
The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.
As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that.
”—Junot Diaz speaking at Word Up Bookshop, 2012 (via clambistro)
“A woman from the audience asks: ‘Why were there so few women among the Beat writers?’ and [Gregory] Corso, suddenly utterly serious, leans forward and says: “There were women, they were there, I knew them, their families put them in institutions, they were given electric shock. In the ’50s if you were male you could be a rebel, but if you were female your families had you locked up.”—
Stephen Scobie, on the Naropa Institute’s 1994 tribute to Allen Ginsberg (via thisisendless)