Which eye did Odin lose, exactly? Karl Seigfried takes this and other overly-literal questions as a jumping-off point for an exploration of Pagan theology, including a comparison with the Bhagavad Gita that demonstrates why gods take on familiar shapes to become comprehensible to human eyes.
TWH — Writer Kat Kimbriel was 16 years old when she read the first three Earthsea novels by Ursula K. Le Guin, the acclaimed science fiction/fantasy writer who died Jan. 22 at the age of 88, and who long ago had become an inadvertent teacher for many Pagans. “I was still a Christian — saw only one path to the divine — but was already questioning that lesson,” Kimbriel said. “With Earthsea, I suddenly saw, through Le Guin’s anthropological roots and Taoist beliefs, peoples of her archipelago that were radically different in culture, history, beliefs, faith. It was a revelation .
Within the world of fantasy, magic, superheroes, and villains, the latest installments made for television and movies have created much hype and are generating much excitement. The last two years have brought about some amazing and much anticipated programming that fit into these genres, from new Star Wars films to new renditions of Superwoman. “The world is changing…..” – Black Panther
During the past two years, there has also been some rather exciting developments in the shifting representation of the typical superhero, and this has brought about a wide variety of discussions and theories on the importance of representation in Sci-Fi, fantasy, and superhero genres. With the upcoming February release of Marvel’s Black Panther and the debut of the CW network’s new show Black Lightning, it seems that conversations about much-needed superhero diversity are happening everywhere
A record number of pre-sale tickets for Black Panther were sold last week and threads all over social media started the process of planning group trips to the show.
If you are a Pagan or occult practitioner of a certain age, the word “Vertigo” brings up certain associations. A speciality line of comic books launched by DC Comics in 1993, Vertigo comics focused heavily on mythic, occult, psychedelic, and magical themes, introducing American audiences to rising talents like Neil Gaiman, Grant Morrison, and Dave McKean. Inspired by the earlier 1980s work of writers like Alan Moore and Jamie Delano, Vertigo created a new niche of “adult” comics that drew many people, myself included, back to reading comic books. I distinctly remember happening upon a write-up of Neil Gaiman’s “The Sandman” in The Monthly Aspectarian of all places, which led me back to a comic book store for the first time in years. For me, and for many of my peers, Vertigo gave a needed dose of youth, experimentation, and anarchic cool to a Pagan/magical subculture that was still trying to adjust to a sudden boom in popularity.