I do lots of inking for Six Ages, but of course can't show any of it. :))
So here's something I did last year, for HeroQuest Glorantha.
And a bonus color painting I did for 13th Age: Glorantha.
A great many of these shrines are centred around the cult of a Herakles-figure, who was worshipped in Hatra under the name of Nergal.Now, Nergal is usually worshipped like so:
Portrayed in hymns and myths as a god of war and pestilence, Nergal seems to represent the sun of noontime and of the summer solstice that brings destruction, high summer being the dead season in the Mesopotamian annual cycle. He has also been called "the king of sunset". Nergal evolved from a war god to a god of the underworld. In the mythology, this occurred when Enlil and Ninlil gave him the underworld.https://en.wikipedia.org/wiki/Nergal
The pronaos of the shrine yielded a plain bronze plate with the inscription nrgl klbʾ. 23 The cover of an offering box representing a dog in relief was, according to the fragmentary inscription, made for Nergal.24 The base of a statuette of which only the bare feet, lion skin and club remain, has an inscription that dedicates the object to nrgl klbʾ. 25 In the same shrine, an alabaster statuette of a dog was found, with an inscription on the plinth mentioning three dogs (fig. 1).26 Although Nergal is not mentioned in this text, it is probable that the dog refers to his cult. The same holds true for a small altar with a representation on the front of a male figure raising an axe.2Lion skin and a club sound appropriately Heraklean. Perhaps it was through the lion skin that the connection to Nergal was made? (Nergal being depicted as a lion)
The dogs have a snake for a tail, and from the collar around their neck hangs a bell. In addition to the dogs, the god is associated with snakes and scorpions. Of special note are the two snakes that rise like a crescent from the god’s shoulders.I'm most likely reaching, but various thundergods are associated with serpents (for obvious reasons) and snakes (and Heraklés of course killed two snakes while he was still a baby in a crib. An image, by the way, I've always found curiously similar to the Master of Animals motif...), some even with scorpions. (Frex: A Czech "weather saying": "Na sv. Jiří vylézají hadi a štíři." = On st. George's day the snakes and scorpions crawl out.)
The Makara possessed a dual nature in early Indian art. On one hand, it was the emblem of the fructifying principle inherent in moisture - a king of water demons, on the other it was the emblem of passion and death.Rosenfield then lists several examples of Makara bringing destruction, as well as another aspect of the club being a symbol of justice. (held by the ruler)
"Recent American SF has been full of stories tackling totaliarianism, nationalism, overpopulation, pollution, prejudice, racism, sexism, militarism, and so on: all the "relevant" problems...But what worries me is that so many of these stories and books have been written in a savagely self-righteous tone, a tone that implies that there's an answer, and why can't all you damn fools out there see it? Well, I call this escapism: a sensationalist raising of a real question, followed by a quick evasion of the weight and pain and complexity involved in really, experientially, trying to understand and cope with that question....If science fiction has a major gift to offer literature, I think it is just this: the capacity to face an open universe. Physically open, psychically open. No door shut."
"The recent fantasy best-seller Jonathan Livingston Seagull is a serious book, unmistakably sincere. It is also intellectually, ethically and emotionally trivial. The author has not thought things through. He is pushing one of the beautifully packaged Instant Answers we specialize in this country. He says that if you think you can fly very fast, why, then you can fly very fast. And if you smile, all is well.
What we need in literature today are vast philosophic horizons-horizons seen from mastheads, from airplanes; we need the most ultimate, the most fearsome, the most fearless "Why?" and "What's next?"...What is truly alive stops before nothing and ceaselessly seeks answers to absurd, childish questions. Let the answers be wrong, let the philosophy be mistaken - errors are more valuable than truths; truth is of the machine, error is alive; truth reassures, error disturbs. And if answers be impossible of attainment, all the better! Dealing with answered questions is the privilege of brains constructed like a cow's stomach, which, as we know, is built to digest cud."
"I have often been told by critics that my writing is too didactic, my adult books, that the moral is too clear. And I'm always embarrassed and afraid they're right, because the book as I wrote it was sort of an argument to me, and when it's written, it all sort of becomes clearer. And so it seems perhaps more didactic, and less a sort of an ongoing argument which usually it was, while I was writing it. I never wrote a book, ever, with the intention of teaching something...Some of my stories are openly polemical, but that's a bit different, art and polemics can go together."
"Art is action...Any practice, any art, has moral resonances: it's going to be good, bad or indifferent. That's the only way I can conceive of writing - by assuming it's going to affect other people in a moral sense. As any act will do...Taken as a whole, overt moralizing is not an admirable quality in a work of art, and is usually self-defeating...I don't want to get on hobbyhorses in my fiction, saying that this is "good" and this is "bad"."I'd very much like to avoid moralizing and preaching in my own stuff, as well as criticizing or shunning the work of others for not doing so.
"I think that Ursual K. Le Guin, and don't trust me fully, because as someone who admires her, I am biased, does not try to think for the reader. She uses her view on society, of course, but what she does is what she calls (and I trust her, because I admire her) "thought experiments", where she, by the artifice of science fiction, creates situations (societies, civilizations, moments in history) where elements of human nature, of the dynamic of society, of the complexity of gender relationships, can be looked upon. But then she never tells the reader, "this is what you should think about it"."
Illuyanka is probably a compound, consisting of two words for "snake", Proto-Indo-European *h₁illu- and *h₂eng(w)eh₂-. The same compound members, inverted, appear in Latin anguilla "eel".And of course, his opponent is Tarhunt/Teshub:
Teshub (also written Teshup or Tešup; cuneiform dIM) was the Hurrian god of sky and storm. He was derived from the Hattian Taru. His Hittite and Luwian name was Tarhun (with variant stem forms Tarhunt, Tarhuwant, Tarhunta), although this name is from the Hittite root *tarh- "to defeat, conquer"Just as with Ylaiňakte (= Indra/The Smiter), Tarhun means "conquerer", the PIE root is even the same as with Thor and other IE thunder gods and smiters. (the meaning "smiter/conquerer" is also the same in the Iranian god - "Verethragna")
Taranis, as a personification of thunder, is often identified with similar deities found in other Indo-European pantheons. Of these, Old Norse Þórr, Anglo-Saxon Þunor, Old High German Donar—all from Proto-Germanic *þunraz (earlier *þunaraz)—and the Hittite theonym Tarhun (see Teshub) contain a comparable *torun- element. The Thracian deity names Zbel-thurdos,Zbel-Thiurdos also contain this element (Thracian thurd(a), "push, crash down"). The name of the Sami thunder god Horagalles derives from Thor's.