hero myth

Children of the Gods: Hera, Goddess of marriage, women, childbirth, and family

Chosen rather than born of the Goddess of marriage, Hera’s favoured share her majesty and pride. Powerful, wise, and at times intimidating, these individuals can be incredible allies or enemies to be feared. They form strong bonds with family, whom they will defend vehemently. Insult them or their family at your peril. 

Giulio Carpioni -  The Death of Leander

Hero and Leander, two lovers celebrated in Greek legend. Hero, virgin priestess of Aphrodite at Sestos, was seen at a festival by Leander of Abydos; they fell in love, and he swam the Hellespont at night to visit her, guided by a light from her tower. One stormy night the light was extinguished, and Leander was drowned; Hero, seeing his body, drowned herself likewise.

If for some reason you wanted some asshole’s inexpert explanation of various justifications for antifascist action to link to, here’s one.


Critical to any understanding of fascism and fascist-aligned movements is how they rely on empowerment through patriarchal masculinity. That is, fascism relies heavily on presenting its opponents as feminine or feminized. It declares that current society is feminized. It offers a way to regain masculinity through purging the feminized elements of society. It emphasizes individual patriarchal heroes that, in fascist understandings and mythologies, imposed their will upon the world. Fascists tend to operate with cultish masculinity, rituals of manliness. 

You know what really tears apart these pretensions and these ideas? Getting your ass kicked by one of the feminized enemy. The hero-myth falters, the manliness conferred on you is shattered, and the very idea of masculinity is called into question because the girly society is proving itself stronger. 

In addition, fascism relies on the belief that society can be divided into the Volk and the enemy. The Volk all stand behind fascism, and the fascist, or specifically their Fuhrer/Duce/Caudillo-figure, is able to interpret the Volk’s will inherently.

Getting their ass beaten and not seeing anyone foam at the mouth to track down and murder their tormentor? A spear jabbed into that complex of ideas. So is getting their ass beaten and people making fun of them for crying on TV, which ties back into the fragile masculinity as well. 

Fascism also heavily believes in the triumph of the will over crude matter, that they will win because they want to. Losing disrupts that, and there’s only so much self-purification you can do before final victory becomes untenable. 

So, punching Nazis is a huge attack on Nazi ideology. You might say, “yeah, but has anyone ever actually stopped being a Nazi because they caught one right on the schnozz?” and while there are anecdotal examples. we can say that the historical fortunes of the NSDAP, the Nazi Party proper, depended on their ability to provide victories and empower their members. When they ran low on funds, when they lost major street battles, when they lost seats in the Reichstag, they lost membership in both the party and in the SA/SS. 

Punching Nazis isn’t solely about the simpler factors like self-defense or the broad ethical factors. There’s also an ideological-psychological reason for doing it. Anyways, keep your thumbs out of your firsts, and swing low. 

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My favorite anime of 2016 part 1 part 2

Cheer Danshi!!, Bungou Stray Dogs, Boku Hero no Academia, Yuri on Ice!!!, 3-gatsu no Lion 

Children of the Gods: Artemis, Goddess of the Hunt, Forests, the Moon, and Archery

Goddess of virginity and protector of young girls, her adopted children are the Hunters of Artemis. She takes the worthy in, those with strength running through their veins; hidden or not. Their aim never wavers, their feet sprint along wooded paths as if they’ve known the forests their whole lives, following prey with hunter’s intuition. 

Alexander The Great in front of the tomb of Achilles.

This painting in the Louvre Museum is a work of Hubert Robert (1733 -1808) done around 1754.

The subject taken from the Greek rhetorician Claudius Aelianius or Aelian (Varia Historia, XII, 7), writing in the second century CE, and shows the Macedonian king having the tomb of Achilles opened in order to pay a homage to the Greek hero of the Trojan War.

Achilles’ relationship with Patroclus is a key aspect of his myth. Its exact nature has been a subject of dispute in both the classical period and modern times. Thus in 5th-century BCE Athens, the relationship was commonly interpreted as pederastic. Nowadays some see it as a love relationship of an egalitarian homosexual couple. It is the same case as the relationship between Alexander the Great and Hephaestion. The relationship between the Macedonian king and his dearest and closest friend and confidant, lasted their whole lives, and was compared, by others as well as themselves, to that of Achilles and Patroclus. Hephaestion and Alexander grew up in a time and place where homosexual affairs were seen as perfectly normal. Roman and later writers, taking the Athenian pattern as their example, have tended to assume either, that their sexual relationship belonged to their adolescence, after which they left it behind, or that one of them was older, the lover (erastes) and the other was the beloved (eromenos). Claudius Aelianus takes the latter view when he uses just such an expression when describing the visit to Troy: “Alexander laid a garland on Achilles’ tomb and Hephaestion on Patroclus’, indicating that he was Alexander’s eromenos, as Patroclus was of Achilles.” No other circumstance shows better the nature and length of their relationship than Alexander’s overwhelming grief at Hephaestion’s death. The many and varied ways, both spontaneous and planned, by which Alexander poured out his grief are overwhelming. In the context of the nature of their relationship however, one stands out as remarkable. Lucius Flavius Arrianus “Xenophon” (Arrian of Nicomedia, ca. 86 – 160), in his work Ἀλεξάνδρου ἀνάβασις says that Alexander “… flung himself on the body of his friend and lay there nearly all day long in tears, and refused to be parted from him until he was dragged away by force by his Companions.

This painting by Robert (known as Robert des Ruines) is close to Panini, who was his teacher during his long stay of 11 years in Rome, and it is considered to be one of the first productions of the French artist in that city. In the painting by the French vedutista, an architectural fantasy, we see a pyramid similar to that of Caius Cestius in Rome, the ruins of a temple with Ionic columns inspired by the temple of Saturn in the Roman Forum and a round temple, after the Roman temple of Vesta, or the temple of the Sybile in Tivoli. The statue standing at the left-hand side of the canvas is the so-called Antinous of the Belvedere, or Antinous Admirandus, the famous statue in the Pio-Clementino Museum of the Vatican. This statue, correctly identified as a Hermes in the 19th century, was long taken to be a depiction of the beautiful Bythinian lover of Emperor Hadrian, one of the great “eromenos-erastes” relationship of the antiquity.

I hate you, Hector. I hate you so much and I hope you have babies soon that you love very much. Then I will steal them and feed them to sharks and you’ll be so heartbroken that you’ll never want to have any more kids and you’ll just hide out in a dark room all day wondering how someone could feed another person’s babies to sharks
—  Achilles

Children of the Gods: Aphrodite, Greek goddess of love, beauty, and sexuality

The parting of perfect lips, delicate lashes fluttering, fingertips trailing across smooth skin. They charm with a look, a soft smile melting hearts. Aphrodite’s children inherit her grace and lure, promoting love and passion as their mother has done for millennia. Love is love and they are its ultimate champions. 

‘hero,’ they whisper
  as the young boy walks by.

‘hero,’ they cheer
and the young boy wonders why.

why was i picked
for this life full of glory?

why must tragedy
be the end of my story?

i want to be a hero,
but i want happiness too.

and heroes may win the war,
but they rarely live through.
—  achilles: the hero. achilles: the tragedy. myth series, m.g.

Children of the Gods: Ares, God of War

The smell of leather and sweat, feet pounding against the earth, calloused hands clasped around blood-tipped daggers. Ares’ children are the fighters, the ones to jump head first into danger with a smirk on their face. These skilled individuals live for the battle, their blood running hot with the gifts of their father.