Mythology

What implications does the Srin-mo, a pre-Buddhist deity who traverses across almost all of the periods of time in Tibetan religious life, have on the social status of women? Embodying the places and spaces of Tibet, a malevolent demoness called the Srin-mo has been essential in laying the formation of Tibetan Buddhism. The concept of the Srin-mo can be traced back to the pre-Buddhist religion of Tibet: Bön. The story of the Srin-mo is not a creation myth in the sense of a worldly inception,  but the story of the demoness does represent the creation of a harmonious society, spurring from the preceding time of primordial chaos found amongst the Bön religion. Looking at the origins of the demoness’ story is necessary in order to understand how and why the Srin-mo holds efficacious power over the land and people of Tibet. Here, I will investigate the case of the Srin-mo, which is controversially one of the most important beings in Tibet, but unquestionably, an irrevocable component of understanding what implications geography holds on Tibet.

In this article, we present one of the most mythicised episodes in the history of Catalonia, first the cooperation and later the clash between the Catalan Company, led by the intrepid Roger de Flor (also known as Roger von Blume and Rutger Blume), and the Byzantine emperor Andronikos II Palaiologos and his son and co-regent Michael IX. We also discuss their settlement in the duchy of Athens in 1311, which later expanded to the duchy of Neopatria, where the Catalans remained a constant presence for more than 70 years. Special attention is paid to the meagre archaeological remains (especially towers and castles) still surviving from that phenomenal adventure in continental Greece, the negative memory this episode has left in Greek folklore, and the conversion of the Almogavar adventurer into a national myth in both Greece and Catalonia, albeit from diametrically opposed positions.

In the 21st century, when women have acquired equal rights in all spheres of life, the subject of women empowerment appears by default in literature. In this regard, Amish Tripathi’s fiction presents certain fascinating aspects. Shiva Trilogy is a mythic Fiction based on mythology related to Lord Shiva, the prime deity in Hindu Religion. He has re imagined a utopian society called Meluha, created by the Hindu God, Lord Ram, as per his ideals. It is interesting to analyse the status Amish assigns to the women in his visualization of Ram Rajya through mythic archetypes like; Shiva and sati, prototype of Lord Shiva and Goddess Sati. The setting of his fiction is 1900 BC, the period when the projected Saraswati Civilization, commonly referred to as Indus Valley Civilization, collapsed. This fiction presents the status of women in the distant past, intuited by today’s ideals of feminism. This article analyses the shades of feminist approach undertaken by Amish in his mythic fiction Shiva Trilogy which includes The Immortal of Meluha (2010), The Secret of Nagas (2011) and The Oath of Vayuputras (2013).

Until the Quiet Revolution of the 1960s, the Catholic Church had an almost unchallenged monopoly on public education in French Canada. Generations of French Canadian children were taught at the primary and secondary levels by various male and female religious orders according to a curriculum that infused almost every element of education with the fundaments of the Catholic Faith. But there is something of an apparent paradox at work when we consider this curriculum: how can an educational system that is so fundamentally Catholic give such prominence to pre-Christian Greek and Latin authors, and why did ‘pagan’ mythology and religious traditions figure so prominently in studies of all levels? Why did a Catholic system spend so much time teaching non-Catholic literature and religious material? This chapter addresses this question by examining in detail the place of mythology in a variety of primary pedagogical materials used in French Canadian schools from the foundation of the colony until the publication of the Commission Parent’s report in 1964. The evolving place of classical mythology in French Canadian education is tracked from the establishment of the colony in the 17th century through to the vociferous debates among the clergy over the place of pre-Christian authors in Catholic education which erupted in France in the mid-19th century and then spilled into French Canadian in the 1860s. The perceived benefits and threats posed by such a mythological education are analysed through the assertions of a variety of contemporary commentators. By means of conclusion, the prominence of Classical mythology and ancient authors in the curriculum is viewed in relation to the evolving national mythology of French Canada itself, according to which the French Canadian Catholic establishment becomes the direct successor to the Classical past.

Full volume is available open-access at this link:
https://www.wuw.pl/product-pol-14887-Our-Mythical-Education-The-Reception-of-Classical-Myth-Worldwide-in-Formal-Education-1900-2020-PDF.html

Les Slaves de l'Est (Biélorusses, Russes et Ukrainiens) possèdent une très riche tradition de chants épiques et religieux qui bien souvent renvoient à un fond très archaïque, un fond mythologique qui n'a de chrétien que l'apparence. Ces chants épiques russes (les bylines) et ukrainiens (les dumy), ces formules et incantations biélorusses, ne mentionnent évidemment pas d'antiques divinités slaves, mais ils font appels à des conceptions et des récits qui peuvent remonter à des temps bien antérieurs à la christianisation, et qui de ce fait peuvent être comparés à d'autres mythologies européennes. Textes traduits du russe, du biélorusse et de l'ukrainien.

2e édition.
Extraits: introduction, premier chant, bibliographie et table des matières

Thèse de doctorat présentée le 17 Septembre 2001 à l'Ecole Pratique des Hautes, Paris-Sorbonne, sous la direction de Michel Graulich, Directeur d'Etudes. Le travail étudie la continuité mais aussi les ruptures et les innovations dans la vision du monde des Mixes du Sud de Mexique tel que l'on a pu observer dans ses mythes et rituels.

Review of the relationship between archaeology and myth in early medieval archaeology, arguing for a more nuanced and engaged interdisciplinary. Case studies present evidence for the creation of deities in early medieval contexts that would normally be considered to be pre-historic and pagan in origin. Winner of the Martyn Jope Prize 2020 from the Society for Medieval Archaeology.

Pre-publication archived version available here:https://pure.qub.ac.uk/en/publications/archaeology-and-myth-in-early-medieval-europe-making-the-gods-of-

This article shows the relationship between Saxo Grammaticus' "Gesta Danorum" (History of the Danes) (Saxo was a Danish historian and mythographer who composed a Latin work on the legendary past of Denmark as well as Scandinavian mythology) and J.R.R. Tolkien, mainly when he was a student of ancient language and literature.

A remarkable set of myths and art about biotechne, creating "life through craft," shows that the ancient Greeks imagined how one might fabricate automatons and self-moving devices more than 2,500 years ago. These myths were not simply tales of inert matter enlivened by magic or a god's command. They are some of the earliest-ever science fictions, envisioning what awesome results of artificial life could be achieved if only one possessed divine craftsmanship. One of the most striking examples of an ancient biotechne myth is the story of Prometheus making the first humans. Early Christian art in the Roman era conflated this story with god's creation of Adam. But the earliest known illustrations of this intriguing Promethean myth tell a surprisingly technological tale. A little-known group of exquisitely carved gems depicts Prometheus using various tools to assemble the proto-man. Skeletons were exceedingly rare in ancient Greek art, but these artists showed Prometheus beginning with the internal framework, the human skeleton. I show how this myth inspired Mary Shelley's Frankenstein tale, raising philosophical questions about human autonomy.

The present study scrutinizes the outlawry and outlaws that appear in the Icelandic Family Sagas. It provides a thorough description about outlawry on the basis of extant law and saga texts as well as an analysis of referential connotations attached to it. The concept of outlawry was fundamental for the medieval Icelanders conceptions of their past. Indeed, understanding outlawry is essential for understanding many of the Family Sagas. Outlaws appear in saga texts in significant roles.

The Icelandic Family Sagas comprise a group of prose narratives that were written down in the 13th and 14th century Iceland. They are based on events and personae that belong to the 10th century Iceland. These narratives introduce many outlaws, out of which some 75 are named.

The Family Sagas are studied here as one corpus and special emphasis is given to those narrative features that repetitively appear in connection with outlawry and the outlaw characters. Therefore, the eventual objects of this study are the medieval Icelanders general conceptions of the historical outlawry as well as the variations of these conceptions throughout the period of saga writing. The medieval Icelanders general conceptions about the 10th 11th century, which are reflected in the Family Sagas, are here referred to as the Saga World. The Saga World is the historically based taleworld to which all of the Family Sagas refer.

The medieval law texts, which were derived from centuries old legislative traditions, reveal that outlawry meant banishing from the society and being denied all help, and that the outlawed person lost the protection of the law. In practice, outlawry was a death sentence.

However, outlaws occupy many differing roles in the saga narratives even in connection with recurrent narrative motifs. These roles reflect the social and spatial structures of the Saga World. The inspection of outlawry within these structures reveals that the definition of outlawry as it appears in the law texts is insufficient for understanding outlawry in the saga texts.

The social and spatial structures also provide a basis for the connotations of outlawry. In this study, these connotations are inspected primarily from the referential connections between outlawry in the Family Sagas and corresponding phenomena in other concurrent literature. This is done by studying the implementations of the basic elements of outlawry in the Family Sagas marginalization, banishing, rejection and solitariness within other literary genres and the taleworlds to which they refer. It is argued that these taleworlds reflect the same ideas that were associated with outlawry in the Family Sagas albeit in different forms and that these different forms reciprocally contributed to the conceptions of outlawry.

The variety of denotations and connotations of outlawry that is visible in the medieval Icelandic texts reflects the ambiguity of outlawry in the Family Sagas. This ambiguity may shed light to questions such as why an outlaw could be perceived as a hero in a literary genre that predominantly promoted law and order and why the same outlaw could be perceived as a villain on another occasion.

A Choice Outstanding Academic Book of 2000
Now in Paperback!

Connects pre-Islamic Arabian myth to world mythic traditions.

"Stetkevych succeeds brilliantly in reconstructing the myth of the destruction of the Thamud, an ancient people of north Arabia. . . . This book will add a new dimension to the study of Near Eastern and Mediterranean myth and legend." —Choice

"Stetkevych’s critical and wide-ranging perspective reveals a wealth of insights. This book is must reading for everyone in the field of religion and one of the most important works in recent years." —Religious Studies Review

"The graceful writing, interdisciplinary scope, and hermeneutical depth should make it compelling reading for those interested in the mythos of Arabia before and at the birth of Islam and in comparable myths in neighboring civilizations." —MESA Bulletin

"It opens up new dimensions of how to think about, how to study, how to see interrelationships in the ancient Arabian world and their connections with the Mediterranean world in general. . . . a stunning piece of work." —Chronicle of Higher Education

Through its development of a methodology for analyzing the mythic and folkloric traditions of pre-Islamic Arabia and the process of their incorporation into Islamic myth and Qur’anic texts, Muhammad and the Golden Bough offers compelling insights for students of Islam, comparative religion, and cultural anthropology. By linking Arabic myth with a broad range of ancient and classical texts—including Gilgamesh, Homer, and the Hebrew Bible—the book makes a provocative contribution to biblical and ancient Near Eastern studies, classics, and comparative literature.

With Empedocles, the qualities of a creative religious, mytho-poetic imagination fluent in Homer, Hesiod, Pindar, and Parmenides allies itself with a rational mind keenly interested in understanding the natural world.:
The first condition for an understanding of Empedocles is to banish the notion of a gulf between religious beliefs and scientific views. His work is a whole, in which religion, poetry, and philosophy are indissolubly united. His imagination is constructive, gathering elements from every available quarter-Hesiodic and Ionian cosmogony, Parmenidean rationalism, Orphic mysticism, poetic legend, the experience of a physician, a poet’s sensuous response to the sights and sounds of mature, and the fears and hopes of a spirit exiled from heaven for ‘a brief span of life that is not life’- but building all these elements together into a unitary vision of the life of the world and the destiny of the human soul, bound, like the macrocosm, upon the wheel of birth and death (Cornford 122).
To give an idea of how Empedocles articulates the elements of muthos and logos in his system,  eleven fragments have been chosen in an attempt to illustrate the basic aspects of his system with an attention to mythical aspects:

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

Published in La voz y la noticia: palabras y mensajes en la tradición hispánica. Urueña: Fundación Joaquín Díaz y Junta de Castilla y León, 2007: 17-25.

Myths have always been present in Western culture, they have been transmited either as part of learned culture in artisctic or scientific allegories, as history, assimilated to christian legends or as elements of folk tales. Mythic thought has been revalued in the last two centuries thanks to the development of academic disciplines such as Psychology, Anthorpology, Folkloristics or Comparative Religion. After Postmodernism, all forms of human thought have gone through a process of demythicfication which has blurred the frotiers between mythic and other kinds of thought. As a consequence of this myths is being studied according to nrew parameters, archetypes, symbolic systems, looking for new formulas and metaphors that help explain the changes of belief programs in the process of cultural evolution.

Key words: myths, transmission, mentifacts, symbols, western culture, interpretation, archetypes, belief programs

This paper studies the archetypal characters appeared in Rick Riordan’s novel entitled Percy Jackson and the Lightning Thief and his ideology conveyed within this novel. It belongs to cultural studies. The discussion is divided into two sections studied by applying theory of archetypes and intertextuality. Its archetypal characters are studied by applying Joseph Campbell’s model discussed in The Hero with a Thousand Faces. It focuses on the analysis of the characters, characterizations, and plot of the novel. The findings of this analysis are then continued to analyze the ideology of the author conveyed in the novel by also connecting it with the situations in the United States where Riordan lives.
The characters of the novel can be classified into Joseph Campbell’s seven archetypal characters, i.e. the hero, mentor, threshold guardian, herald, shape-shifter, trickster, and shadow. Although Riordan may have his own interpretations toward Greek mythological characters appeared in his novel, their characteristics are still stuck closely to the original versions of those existed in Greek myths. Riordan’s ideology is influenced by the society where he lives and vice versa. His ideology within the work influences the society in the point that children’s interests in mythology and in reading books increased after the work was published. The ideology studied in this research focuses on Riordan’s beliefs and his ways of seeing the world. The statuses he bears both as a father and as an ex-teacher also take part in shaping his ideology.


Key words: Greek mythology, archetypal characters, author’s ideology.

The color blue is thought to protect against the evil eye in Mediterranean cultures. This article unfolds the yet-unstudied role played by kabbalistic theology, symbolism, and myth in the construction of the color blue as a protective color for Jews. It traces particularly the development of a medieval kabbalistic myth of a dazzling blue garment of the feminine aspect of the godhead, protecting her from contact with evil forces. The article shows how this myth became the foundation for various practices against the evil eye among Jews in the modern period and contextualizes this myth within theories about the evil eye.

The Hopi Tablets can be understood with their corresponding Hopi, Mayan and Tibetan mythical stories.  The research will identify the Blue Star Kachina who dances in the Plaza of Hopi mythology at the beginning of the 5th World and restoration of the earth.

The present volume responds to the rising boom of interest in folklore and folklore research in the study of Old Norse mythology. The twenty-two authors of this volume reveal the dynamism of this lively dialogue, which is characterized by a diversity of perspectives linking to different fields and national scholarships.

The chapters open with a general overview of how the concepts of “folklore” and “mythology” have been understood and related across the history of Old Norse studies, which is followed by a group of chapters that discuss and present different approaches and types of source materials, with methodological and theoretical concerns. The interest in folklore is bound up with interests in practice and lived religion, which are brought into focus in a series of chapters relating to magic and ritual. Attention then turns to images that link to mythology and different mythic agents in studies that explore a variety of usage in meaning-making in different forms of cultural expression. The next group of studies spotlights motifs, with perspectives on synchronic usage across genres and different media, cross-cultural exchange, and long-term continuities. The volume culminates in discussions of complex stories, variously in oral traditions behind medieval sources and relationships between accounts found in medieval sources and those recorded from more recent traditions.

Individually, the chapters variously offer reflexive and historical research criticism, new research frameworks, illustrative studies, and exploratory investigations. Collectively, they illustrate the rapidly evolving multidisciplinary discussion at the intersections of folklore and Old Norse mythology, where the transformative impacts were recently described as a paradigm shift. They open new paths for scholarly discussion with the potential to inspire future research.

[For recent work, such as the myths of Archias and Actaeon, Leucocomas and Euxynthetus, Meletus and Timagoras, and Nissus and Euryalus, please see my Academia page, https://independent.academia.edu/AndrewCalimach ]

The Greek myths of love between gods or heroes and youths, including Zeus and Ganymede, Poseidon and Pelops, Laius and Chrysippus, Apollo and Hyacinth, Hercules and Hylas, Achilles and Patroclus, Narcissus, and Orpheus.

The myths are restored and retold from ancient fragments. Each story has a complete bibliography, and from the many illustrations of Greek vase paintings and sculptures we see how the Greeks imagined these characters and these situations.

希腊神话中的神和男孩，还是英雄和男孩，包括宙斯和木卫三，海神和贝洛布思，拉伊俄斯和克吕西波，阿波罗和风信子，大力士和海拉斯，阿喀琉斯和帕特罗克洛斯，水仙，奥菲斯之间的同性之爱。

In this paper, I argue that the traditional narrative of Iphigenia's sacrifice lies allusively behind the opening scenes of the Iliad (1.8-487). Scholars have long suspected that this episode is evoked in Agamemnon's scathing rebuke of Calchas (1.105-8), but I contend that this is only one moment in a far more sustained allusive dialogue: both the debate over Chryseis and her eventual return to her father replay and rework the sacrifice story. The Iliad begins by recalling the start of the whole Trojan war. [See https://twitter.com/Nellenist/status/1517245751679762435 for a brief summary of key points and please contact me for a correctly paginated offprint.]

Yima’s vara- or “enclosure,” generally held to reflect ancient Indo-Iranian afterlife beliefs, is described in the Vīdēvdād as a cavernous structure not reached by the light of the sun or the moon. Mention is instead made of its artificial or “self-created” lights. But the heavenly luminaries are also said to be in the vara at their setting and rising, a statement that seems to accord with the underground localization of the vara in Pahlavi sources. In the following paper it is argued that this conception has parallels in the Veda, where Yama’s otherworld realm is depicted as a subterranean enclosure (only later relocated to heaven) where the sun is at night. The light there is said to be unceasing. Later Indic sources also refer to the light of the otherworld as independent of sun, moon, and stars.

SUMMARY: Chapter 10, in Renfrew & Bahn's textbook (Archaeology: Theories, Methods, and Practice), covers approaches to assessing how humans began to think and adopt language, use symbols, view one's world, measure time, plan ahead, practice religion, care for the deceased, portray oneself, others, and aspects of one's world, and other concepts.  In my view, this is one of the best college textbooks available, and is invaluable for students, archaeologists, and the public in general, to obtain a top notch overview of approaching and interpreting the archaeological record.  UPDATED March, 2021, some new images, text edits, significant re-formatting, etc.

What is Visionary Art? The sources of the visionary experience are many and varied: dreams, trance, madness, meditation, entheogens... This little book examines them all, pursuing both Visions of Light and Visions of Darkness. Through the art and writings of Ernst Fuchs, H. R. Giger, Mati Klarwein, Robert Venosa, Johfra, De Es, Alex Grey and more, this new and unusual movement in art is put into proper perspective.

İslam öncesi Türk inançları konusunda insanların zihninde yer tutan kültler, kutsal
imgeler üzerine yapılan araştırmalar ve destanlar incelenmektedir. Zira destanlar ve destanların
analizi toplumsal normların gelişiminde ulaşabilecekleri noktayı görmekte yardımcıdır. Zira
her toplum geçmişinden izler taşımaktadır. Araştırmamızda Türk toplumunun inançlar
kökenlerine inmek gayesi ile günümüze kadar gelen süreç işlenmiştir. O dönem destanları veya
farklı coğrafyalarda, farklı din ve toplumlar ile karışarak değişen anlatıların Türkler üzerinde
bıraktığı etki üzerinde durulmuştur. Ayrıca farklı mitolojiler ile karşılaştırarak farklı
coğrafyalarda yaşayan insanlar arasında bağlantıya değinilmiştir. En eskilerden, Hacı Bektaş"a
uzanan bir din yaşamının dünü ve bugünüyle izi sürülmeye çalışılmıştır.

The cults in the minds of people about pre-Islamic Turkish beliefs, researches and epics
on sacred images are examined. Because the analysis of epics and epics is helpful in seeing the
point they can reach in the development of social and religious norms. Because every society
has traces of its past. The epics of that period, or the impacts of the narratives on the Turks in
different geographies and mixed with different religions and societies, were emphasized. In
addition, the connection between people living in different geographies was compared with
different mythologies. From the oldest to the past and the present of a religious life extending
to the Haji Bektash has been tried to be traced.

The technique we practice to tell imagined stories among ourselves especially the construction and the preservation of the mythical stories is always important to our psychological development. Today, the world of digital games work as the foundation into artificial worlds, where the imagined stories are well maintained and prolonged. Mythic narratives have the power to develop above their standard and become "remediated" which means, they can stimulate, translate and adapt into other forms of media and afterwards create a life outside their original medium, where the artificial universe sustains, expands and grows in detail. (Bolter & Grusin, 5). Thus, the fictional world of the games exists beyond the game and have become more than the game. The mythic world has its own story to tell, its own metanarrative, framing and assistance of the game. The video game Asura's Wrath (2012) have advanced the borders of digital and narrative experiences and they merged the digital interaction with traditional notions of play and explained the mythological interaction. In other words, these games involve the activity of the play.