Top Tens – Girls of Comics: Top 10 Girls of Comics (Revised 2026)

Witchblade 55 released by Image Comics (Top Cow) May 2002 – special cover art by Eric Basaldua

 

 

TOP 10 GIRLS OF COMIC

 

Ah – the girls of comics! There’s a reason that they’re first among my fantasy girls.

Indeed, there’s any number of reasons – I’ll resist the obvious gag of two reasons – such as literally embodying what TV Tropes jokingly labels the most common superpower (as part of the buxom beauty standard…or any number of  other tropes). Indeed, it’s so common it’s easier to simply nominate exceptions rather than the rule (or as in the actual trope entry in TV Tropes, the examples that are justified or ‘lampshaded’ in-universe, setting aside that other trope world of buxom). That’s compounded by costumes that are more in the nature of bodysuits, latex, lingerie or swimsuits – what TV Tropes jokingly labels ‘stripperiffic’.

I could debate whether such depictions are gratuitous, such as the argument that it reflects the American art style of depicting superheroes, male and female, as ‘larger than life’ or the tendency of media to default towards physical attractiveness, even for supposedly average or unattractive characters (most notably with what TV Tropes labels as Hollywood homely). For example, Spiderman is meant to be an average teenager – indeed a gawky or nerdy one, something of a loser – but just look at him. Ditto Wolverine – short and homely in comics but ends up being portrayed by Hugh Jackman.

I could debate it, but I’d prefer to count down my Top 10 Girls of Comics instead.

 

ART & COSPLAY (MEDIA & MODELS)

 

But first a note on the visual images used in this top ten. Given the copyright in such images, I only use visual images as fair use for the purposes of comment or review in each entry – a feature image to identify the character, either in general or in their most iconic version as I review it to be (or both), sourced only from published cover art as cited, often which I review to be iconic of itself or which influenced my view of their most iconic version (or both).

I also include a special section in each entry under the subtitle of art and cosplay – not for any actual art and cosplay as such but instead where I nominate my favorite artists and cosplay models depicting the character, which you can look up for yourself. If there’s enough of them, I’ll often compile a top ten on the spot. For art, I award a special ranking for any art by my two favorite artists – the two freelance digital artists Sciamano and Dandonfuga. For cosplay, I award a special ranking for any cosplay by my holy trinity of models – my favorite model Yummychiyo with her insane figure in top spot, followed by Hane Ame and Helly Valentine. I also have a ranking for appearances of the character in media if any – cinema and screen that is – as well as those select few characters who have official models portray them, noting my favorites. These may include further images as fair use for the purposes of comment and review of those media appearances or models.

As for the title feature image I’ve chosen for this page, it is one of the most iconic images – if not the most iconic image – not only for the Witchblade comic but for girls in comics in general, virtually a showcase of the girls of comics and the tropes I highlighted in my opening, by an artist that has given us so many such iconic images, Eric Basaldua, although this is perhaps his most famous. You can see his distinctive signature – Ebas – on the cover, although it appears to be dated 2003, presumably for this special cover release after the original release. And you can’t argue with that t-shirt – not that she normally wears it as part of her costume although she probably wouldn’t mind one given how little her Witchblade armor actually covers. Who doesn’t love comics, particularly the girls of comics when they’re drawn like this?

 

 

Kickstarter cover art by Derrick Chew – cropped for fair use and because the full version is too hot to handle!

 

 

(10) SERAPHINA – DEVASTATION (Worthy Chaos 2024)

 

My wildcard tenth place entry for best of 2025 comes from Worthy Chaos Comics & Cryptids with Kickstarter cover art by Derrick Chew.

In their Redemption series, “the forbidden love between Angel Seraphina & Demon Draven unfolds as they battle to survive in a realm of monsters”.

Devastation is a Western prequel or spinoff – “travel to the 1880s with our Angel & Demon soulmates where they are forced to hunt down cryptids such as the Wendigo, Bigfoot, Mothman, Chupacabra, and many more!”

 

ART & COSPLAY (MEDIA)

 

This entry will be something of a departure from my usual rules with respect to art, cosplay, and media – except to note that my feature image is promotional Kickstarter cover art by Derrick Chew for the comic, cropped for fair use and also because the full cover is too hot to handle here!

I anticipate that there will be more art with guest cover artists when the comic is launched, although it may be too niche for cosplay or media.

 

RATING:
X-TIER (WILD TIER)

 

 

Mary Jane & Black Cat 4 – 8 March 2023 (variant cover by Russell Dauterman)

 

(9) BLACK CAT (Marvel 1979)

 

Meow!

Spiderman’s catgirl – platinum blond feline-themed femme fatale Felicia Hardy. ‘Bad luck’ powers of her namesake in superstition. Sadly, yet to appear in film but for a brief cameo for her alter ego in the Amazing Spider-Man films.

 

ART & COSPLAY

 

For her iconic feature image, I chose the variant cover from the fourth issue of Mary Jane & Black Cat. It was a close call as I regard J. Scott Campbell as the iconic cover artist for her – and Stanley ‘Artgerm’ Lau was also a close runner-up with my single favorite Black Cat art image of all time – but artist Russell Dauterman showcased her different costumes here.

Of course, her classic costume is front and center where it belongs!

 

ART – DANDONFUGA

 

Sadly no Sciamano ranking as usual for my girls of comics, but oh boy does she have a Dandonfuga ranking, as Dandonfuga has done some sizzling art of her, including one with her getting frisky with Catwoman!

As for my top ten on the spot for Black Cat art:

1 – Dandonfuga (did you not see my reference to sizzling art, particularly that one with Catwoman?)

2 – Artgerm (for his cover art of Black Cat as my single favorite image of her – and one of my favorites of his art)

3 – J. Scott Campbell (as the iconic cover artist for her)

4 – David Nakayama (for Black Cat cover art in a similar style to J. Scott Campbell)

5 – Nathan Szerdy (for his art of her as a recurring subject)

6 – Elias Chatzoudis (for his fine Black Cat art)

7 – Neoartcore (for his cute Black Cat art)

8 – Shannon Maer (for some gorgeous Black Cat cover art)

9 – Logan Cure (for some sensuous Black Cat art)

10 – REIQ (for some distinctive Black Cat art)

 

SPECIAL MENTION

1 Marvel – for their cover and other art, including in their Black Cat title

2 Russell Dauterman of course, for the iconic cover art that I used for my feature image.

3 Straban for one particularly striking image of her

AI shoutout to Naughty Neurals!

 

COSPLAY – HELLY

 

And oh boy do we have a Helly ranking for her – Helly Valentine is the standout for Black Cat cosplay. No Yummychiyo or Hane ranking, sadly.

Close runner-up is Vampy Bit Me’s cosplay of her.

 

Collage of photograph Sydney Sweeney and Black Cat pinup art by Stanley ‘Artgerm’ Lau used on Facebook, Youtube and elsewhere as headline image to report speculation of Sweeney’s casting

 

 

 

MEDIA

 

She actually has appeared in an uncostumed cameo as her alter ego in the Amazing Spiderman 2 film, played aptly enough given the name by Felicity Jones – with her role as Black Cat planned for future films…but those plans fizzled with the rest of that film.

This may be cheating but I’m going with the persistent rumors of Sydney Sweeney being offered the role. By the way, that’s the Artgerm cover compared against Sydney in my media feature image.

 

RATING:
A-TIER (TOP TIER)

 

 

Poison Ivy 1 – June 2022 (variant cover by Nathan Szerdy)

 

 

(8) POISON IVY (DC 1966)

 

Since her debut, Poison Ivy (originally Pamela Isley in the present incarnation of the character) has been one of Batman’s most enduring adversaries in his rogues gallery – and one of the most powerful, as one of the few with actual superpowers.

Ivy is not so much a straightforward villain, as a well-intentioned extremist – she is depicted as one of the world’s most notorious eco-terrorists and her criminal activities revolve around the protection of the natural environment, reflecting her love or obsession with plants, botany and environmentalism. Her powers also revolve botanical – or biochemical – themes, such as toxins and mind-control pheromones, typically through her touch – or kiss. The latter has led to her as a love interest or source of romantic tension for Batman.

Her powers also extend to manipulation of plants to an extremely powerful degree – manipulating their growth and abilities or modifying their traits, even animating, hybridising or mutating them. Indeed, she even embodies them – her skin tinted green with chlorophyll and plant toxins (although she can consciously control its extent when required), with some versions even having her almost more plant than human, breathing carbon dioxide or needing sunlight. She even has been identified with an elemental mystical component, part of the force identified as the Green or as the May Queen.

 

ART & COSPLAY

 

For her iconic feature image, I’ve chosen the variant cover from the first issue of her solo title by Nathan Szerdy. Ivy has sported different styles over the years but this remains her iconic style – and indeed her classic one, which has consistently featured with variations from her Silver Age introduction, albeit with green skin tone from time to time.

Shoutout to the cover artist Nathan Szerdy – who has done some of my favorite Poison Ivy art as she is one of the most prolific subjects for his art. Also shoutout to the solo title series for some fine cover art from artists such as David Nakayama, Will Jack, Josh Burns, and Dan Panosian.

 

ART (DANDONFUGA)

 

Sadly no Sciamano ranking as usual for the girls of comics but she does score a Dandonfuga ranking.

As for my top ten on the spot for Poison Ivy art:

1 – Dandonfuga (for my Dandonfuga ranking)

2 – Nathan Szerdy (for my iconic feature image and many more – one of his best recurring subjects and my favorite art of Ivy)

3 – Sun Khamunaki (for some rocking Ivy images – including a version of the Batman and Robin film Ivy that improves upon the film version)

4 – Artgerm (for Ivy cover art)

5 – David Nakayama (for some interesting variations on Ivy art)

6 – Dan Panosian (Dan does good redhead!)

7 – Will Jack (for a particularly charming Ivy cover art)

8 – Shannon Maer (for some gorgeous cover art)

9 – Neoartcore (for art in Neoartcore’s usual style)

10 – Derrick Chew (for some playful art of Ivy)

 

SPECIAL MENTION – DC COMICS (for cover and other art, including in their Poison Ivy title)

AI art shoutout also to Naughty Neurals

 

COSPLAY

 

No Yummychiyo, Hane or Helly ranking – there’s some excellent Ivy cosplay out there, but none from my favorite models of choice. I’ll nominate Claire Ana (collaborating with her usual photographer Jeff Zoet Visuals) for her Poison Ivy cosplay.

 

 

Ivy as she appears in characteristic pose (and her favorite jacket!) in the Harley Quinn animated TV series – profile image from the fan wiki

 

MEDIA

 

The less said about the Batman & Robin film the better, even if Uma Thurman’s Poison Ivy was arguably the best thing in that film – but who doesn’t love the version of Ivy (voiced by Lake Bell) in the Harley Quinn animated TV series?

Rounding out third place for media appearances (after the Harley Quinn animated series Ivy and Uma Thurman’s Ivy), I have a soft spot for the version of Ivy in yet another animated TV series, DC Super Hero Girls – where she is strangely cute as her student alter ego, even before glamming up (and strangely elfin) when going full Ivy.

 

RATING:
A-TIER (TOP TIER)

 

 

Variant cover by Ariel Diaz for Zatanna: Bring Down the House (volume 2 of 5) published by DC Comics 24 July 2024

 

(7) ZATANNA (DC 1964)

 

I’m not going to lie – it’s that outfit that does it for me!

DC Comics occasionally defaults to outright magic as a superpower and its magical superheroine of choice is Zatanna Zatara. She first appeared in 1964, as the daughter of magician Giovanni Zatara from the earlier so-called Golden Age of Comics.

Zatanna is both a stage magician (or illusionist) and a real magician (of the mystical or magical branch of humanity or so-called ‘homo magi’ as opposed to ‘homo sapiens’). She is one of the most powerful users of magic in the world of DC Comics, a sorceress casting her spells through the focus of speaking backwards – so that potentially there would seem to be little limit to her magic and indeed she has used it to manipulate the fabric of space or time.

Interestingly, Zatanna is a character that has been given some real depth, by two of my favorite writers of comics – Neil Gaiman used her (albeit in a blonde version) in The Books of Magic, an exploration of DC Comics’ magical universe (which has always fascinated me), and Grant Morrison used her as one of his Seven Soldiers, a characteristically Morrisonesque revamping of more minor DC Comics characters.

 

ART & COSPLAY (MEDIA)

 

For my iconic feature image, I chose the variant cover by Ariel Diaz for Zatanna: Bring Down the House (volume 2 of 5) published by DC Comics 24 July 2024 – which showcases her classic costume (and fishnets!). She has had various costumes but this will always be definitive Zatanna for me.

 

ART – DANDONFUGA

 

She does score a Dandonfuga ranking – indeed, Dandonfuga has done a few variants of artwork for her.

As for my top 10 on the spot for Zatanna art

1 – Dandonfuga (for my Dandonfuga ranking)

2 – Ariel Diaz (for my iconic feature cover art image as well as other spectacular Zatanna cover art)

3 – Nathan Szerdy (for one of his recurring and best subjects)

4 – J Scott Campbell (for Zatanna art in his usual style, including one of my favorite cover art images of her)

5 – David Nakayama (for Zatanna art in his usual style, including cover art)

6 – Artgerm (for Zatanna art in his usual style, including cover art)

7 – Neoartcore (always reliable to find art by him of almost any subject and he shines with Zatanna)

8 – Shannon Maer (for art in his usual gorgeous style)

9 – Derrick Chew (for art in his usual style)

10 – Prywinko (for art in their cheeky style)

 

SPECIAL MENTION – DC COMICS (for their cover art under their Zatanna title)

1 – Brian Bolland (He always does good fishnet stocking art)

2 – Ed Benes (He also always does good fishnet stocking art – for Zatanna with Black Canary)

3 – Shikarii (in their usual pinup style)

AI shoutout to Naughty Neurals

 

Sadly no cosplay by my favorite models.

 

 

Serina Swan as Zatanna in the Smallville TV series – 8th season 17th episode. This was perhaps the most iconic shot of her from the episode (perhaps because it has her name on a sign) although unfortunately you don’t see the fishnet stockings.

 

MEDIA

 

There’s her portrayal by Serinda Swan in the Smallville TV series, fishnet stockings and all

 

 

 

Zatanna in one of her brief non-speaking roles (so far as at Season 4) in the Harley Quinn animated TV series – profile image from the fan wiki

 

There’s also her brief cameo non-voiced appearances in the Harley Quinn animated series – hopefully she’ll have a larger (and speaking) role at some point in that series.

 

RATING:
A-TIER (TOP TIER)

 

“Catwoman: Nine Lives of a Feline Fatale” – DC trade paperback collection June 2004 (cover art by Brian Bolland)

 

 

(6) CATWOMAN (DC 1940)

 

“I am Catwoman. Hear me roar!”

Meow!

No surprises here – Batman’s feline fatale Selina Kyle is one of the original bad girls of comics. With her criminal tastes limited to upmarket cat-burglary, she oscillated between (anti-)hero and villain.

With nine lives of costume changes – and her signature whip or cat o’ nine tails – but perhaps most memorably clad in a skin-tight black catsuit.

 

ART & COSPLAY

 

Despite the plethora of superb Catwoman cover art for her own titular comics and elsewhere, there could only be one choice for my iconic feature image – Brian Bolland’s cover art for the “Catwoman: Nine Lives of a Feline Fatale” collection, showcasing in one cover her different styles over the decades in comics, albeit I don’t think it’s exhaustive, particularly if you add in her media appearances.

Just some quick notes on the cover. Firstly, my favorite style – and what I would consider to be her definitive style, the modern or classic catsuit created by Darwyn Cooke – is front and center, as it should be, although I am also partial to the different catsuit styles that appear on the left. (Clockwise from bottom left – Jim Balent’s purple catsuit from the 90s, Frank Miller’s Year One grey catsuit in the 80s, and Bruce Timm’s catsuit design for Batman: The Animated Series in the 90s).

Secondly, Brian Bolland deserves a shoutout for his art in general – originating in Britain as my favorite artist for Judge Dredd among other things, he was part of the so-called ‘British Invasion’ of American comics, where his covers were and are legendary.

Thirdly, the different styles of Catwoman in this cover also prompts a shoutout for J. Scott Campbell, also legendary for his cover (and other) art – but in particular a series of eight covers for Catwoman’s anniversary, each showcasing a different individual style of Catwoman in gorgeous detail, including five of the costumes in Bolland’s cover. One of the other covers featured the post-Rebirth catsuit design by Joelle Jones (which in the 2010s postdated Bolland’s cover), while the remaining two covers featured her catsuit from the 1960s Batman TV series (which rivals the Cooke catsuit as my favorite) and her catsuit as worn by Michelle Pfeiffer from the Batman Returns film.

 

ART – DANDONFUGA

 

Surprisingly no Sciamano ranking –  I would have thought that Catwoman might have been one of the few girls of comics to draw (heh) his eye – but as usual Catwoman scores a Dandonfuga ranking, indeed with some of the most sizzling Dandonfuga art.

My top ten on the spot for Catwoman art

1 – Dandonfuga (for my Dandonfuga ranking)

2 – J. Scott Campbell (particularly for those covers of her iconic costumes)

3 – David Nakayama (who’s been knocking it out of the park lately with his Catwoman covers)

4 – Nathan Szerdy (ditto his Catwoman covers)

5 – Sun Khamunaki (with a superb art version of Michelle Pfeiffer’s Catwoman)

6 – Artgerm (for standout Catwoman covers, including the Michelle Pfeiffer version)

7 – Elias Chatzoudis (for standout Catwoman art, including the Michelle Pfeiffer version)

8 – Shannon Maer (for some gorgeous Catwoman art)

9 – Will Jack (also for some gorgeous Catwoman art)

10 – Ayyasap (yeah – for some fine Catwoman art)

 

SPECIAL MENTION

1 DC Comics (for all the Catwoman cover art and artists)

2 Brian Bolland (for that cover!)

3 Jim Balent (for his iconic 90s Catwoman art)

4 Jonatas Ferreira (for one of my favorite images of Catwoman)

5 Boo Sweeney (for a fine leggy Catwoman variant cover)

AI shoutout to Naughty Neurals!

 

COSPLAY

 

There’s some excellent Catwoman cosplay out there but none from my holy trinity or favorite models of choice – with the exception of honorable mention for Leeanna Vamp, who did a fine set of Catwoman in the Cooke catsuit.

 

MEDIA

 

Catwoman has more notable (and favorite) media adaptations for me than any of my other Top 10 Girls of Comics.

 

From left to right – Lee Merriweather (film), Julie Newmar (the GOAT in seasons 1-2), and Eartha Kitt (season 3) from the 1966 Batman TV series and film

 

 

First, there’s the slinky suited Catwoman from the 1960s Batman TV series, played by no less than three different actresses – Julie Newmar (Seasons 1 and 2), Lee Merriweather (film), and Eartha Kitt (Season 3). Look – the latter two were good but Julie Newmar rocked that catsuit best.

 

Michelle Pfeiffer as Catwoman in the 1992 Batman Returns film directed by Tim Burton

 

Second, there’s Michelle Pfeiffer’s Catwoman in her slinky and distinctively stitched catsuit from the 1992 Batman Returns film directed by Tim Burton. As per her most famous quote from the film – Meow!

 

Anne Hathaway as Catwoman in the 2012 Batman film The Dark Knight Rises, directed by Christopher Nolan as the third film in his Batman trilogy

 

Third, there’s Anne Hathaway’s Catwoman in her slinky catsuit in the more realistic style of the Batman film trilogy directed by Christopher Nolan, although we had to wait to the third film to get her.

 

Zoe Kravitz as Catwoman in the 2022 film The Batman directed by Matt Reeves

 

Fourth, there’s Zoe Kravitz zipping up in her Catwoman suit in the 2022 film The Batman directed by Matt Reeves.

 

 

Catwoman (voiced by Sanaa Lathan) as she appears in the Harley Quinn animated TV series – profile image from the fan wiki

 

Finally – fifth, Catwoman has appeared in a number of animated versions. I have a soft spot for her as drawn by Bruce Timm but my favorite animated version is in the Harley Quinn Animated TV series, voiced by Sanaa Lathan. Which come to think of it, makes Catwoman not only my top ten place entry with the most media adaptations but also the most diverse media adaptations – with three black versions of her, including those portrayed by Eartha Kitt and Zoe Kravitz.

 

 

RATING:
A-TIER (TOP TIER)

 

 

 

Harley Quinn’s Villain of the Year – November 2019 (variant cover D by J. Scott Campbell)

 

(5) HARLEY QUINN (DC 1993)

 

Hot slice of crazy. Perky female minion. Pin-up girl for crazed co-dependency.

Psychiatric intern at Arkham Asylum who became infatuated with the Joker – a relationship as unhealthy as one might expect for her and Gotham City.

Originated in the Batman: The Animated Series, but proved so popular she was imported into the comics.

 

ART & COSPLAY

 

For her iconic feature image, I’ve chosen the art by iconic cover artist J. Scott Campbell for his variant cover D from the one-shot Harley Quinn: Villain of the Year comic, as it nicely juxtaposes her moden and classic costumes – my two favorite costumes for her.

 

ART – DANDONFUGA

 

No Sciamano ranking as usual for girls of comics but she has a mighty fine Dandonfuga ranking!

As for my favorite Harley Quinn art, she’s a popular subject for artists so almost all of my favorite artists have tried their hand at her – so here’s my top ten on the spot for Harley Quinn art.

1 – Dandonfuga (for my Dandonfuga ranking

2 – J Scott Campbell (for my iconic feature image – and more! Particularly his covers for her as Villain of the Year)

3 – Nathan Szerdy (as one of the best and most recurring subjects of his art)

4 – David Nakayama (for standout Harley Quinn cover art)

5 – Artgerm (for sensational Harley Quinn cover art)

6 – Neoartcore (for Harley Quinn fan art)

7 – Kikol Draws (for one of my favorite images of Harley fan art)

8 – Derrick Chew (for playful Harley Quinn art in different styles)

9 – Shannon Maer (for gorgeous Harley Quinn cover art)

10 – Will Jack (for cute Harley Quinn cover art)

 

SPECIAL MENTION

1 – DC Comics, for their covers and art for Harley Quinn in her own title and others

2 – Sun Khamunaki, for her rare Harley Quinn art

3 – Keith Garvey, for his art in the style of the Harley in her film adaptation

4 – Lucio Parrillo, for painted art of Harley to resemble her film actress (and with her pet hyenas)

5 – Amanda Conner, for her signature style art of Harley

6 – Warren Louw, for some striking Harley art

7 – Logan Cure (for some sumptuous Harley art)

AI shoutout to End of Line, Naughty Neurals and Sakura.

 

COSPLAY – HELLY

 

No Yummychiyo or Hane ranking but she scores a Helly ranking with some standout Harley cosplay by Helly Valentine – and in her modern costume (or a latex adaptation of it) to boot.

 

Margot Robbie in her signature (and her most iconic) pose as Harley Quinn in the 2016 Suicide Squad film – as opposed to Margot Robbie as Harley Quinn in The Suicide Squad film in 2021

 

MEDIA

 

Harley Quinn’s adaptation in three live-action films may have been a mixed bag – with the only good one as The Suicide Squad in 2021, as opposed to Suicide Squad (without the definite article in the title) in 2016 – but Australia’s Margot Robbie shone in the role throughout all three films. And although the film in which she was introduced – Suicide Squad in 2016 – was lacklustre apart from her in the role, the costume in which she was introduced proved an enduring favorite among fans and cosplayers.

 

The girl herself as she appears in her own animated TV series (well, after her costume change in the first episode) – profile image fan wiki

 

 

And of course Harley Quinn starring in her own animated TV series, voiced to (surprising) perfection by Kaley Cuoco – my favorite version of the character in any media.

 

 

RATING: 5 STARS*****
S-TIER (GOD TIER)

 

 

Lady Death Pin Ups 1 – Naughty Conquest edition July 2014 (art by Paolo Pantalena)

 

(4) LADY DEATH (CHAOS – COFFIN 1991)

 

The definitive 1990’s comics ‘bad girl’. The female embodiment (in every sense of the word) of the nineties antihero in the ‘Dark Age of comics’ – typically dark action girls or avengers, anti-heroic or villainous in nature, with supernatural or occult themes, and above all, voluptuously statuesque and stripperiffic.

Written by Brian Pulido, she originated as an outright villainous figure, a supernaturally pale beautiful female personification of death, but subsequently took shape as an anti-hero or hero

Her story has repeatedly changed as she has bounced between publishers and reboots, but essentially it involved been damned to hell (or somewhere like it) through magic (hence her appearance), only to rise to reign or wage war in hell.

Sadly, such a potentially promising story has been consistently let down by her plots – mostly cat-fights with other demon girls.

It is tempting to think what other writers might have made of Lady Death and her mythic underworld setting – thic sensibilities, Grant Morrison or Mark Millar with their subversive humor, Mike Carey with his play on infernal power politics (particularly as Morrison, Millar and Carey wrote for Vampirella)

Hell, even Frank Miller would have offered up something interesting a la his anti-heroic underworld in Sin City – or at least been outrageously fun about it.

So alas – she might have ranked even higher, but she earns her place in my top ten as befits any girl confident enough to wage war in hell and rule it in a g-string and high-heeled thigh-high boots.

 

ART & COSPLAY

 

If there’s one thing Lady Death is known for – well one more thing than the two obvious things – it’s her covers or pinups (essentially the same thing), many of which would serve as iconic feature image but I’ve chosen this pinup art by Paola Pantalena, one of her recurring artists, as it just seems to me a visual encapsulation of the character.

 

 

ART – SCIAMANO & DANDONFUGA

 

Sadly no Sciamano ranking – his Lady Death would rock going by his Atago Race Queen art or Azur Lane art in general – but she does score a Dandonfuga ranking, albeit not as much or to the usual Dandonfuga standout standard.

When it comes to Lady Death art, the best showcase is arguably the Coffin Comics website, her present publisher. As I said, if there’s one thing Lady Death is known for, it’s her prolific art of high quality in covers or pinups that one is spoilt for choice. Essentially, if there’s an artist known for their pin-up art, they’ll have done Lady Death.

 

My Lady Death art top ten on the spot  – drawn (heh) from my favorite artists

1 – Dandonfuga (for my usual top Dandonfuga ranking)

2 – Elias Chatzoudis (for excellent recurring cover art)

3 – Sun Khamunaki (also for excellent recurring cover art)

4 – Nathan Szerdy (for characteristic pinup style art)

5 – Keith Garvey (also for characteristic pinup style art)

6 – J. Scott Campbell (for art in distinctive style)

7 – David Nakayama (for art in distinctive style – influenced by or very similar to J. Scott Campbell)

8 – Artgerm (for his go-to Lady Death cover art)

9 – Shannon Maer (for his go-to Lady Death cover art)

10 – Mike Krome (Australian artist known for his Lady Death covers)

 

SPECIAL MENTION

1 – Coffin Comics

2 – Paolo Pantalena

And all the stable of artists for Coffin Comics who have not previously been mentioned. The top artists nominated by Coffin Comics themselves in their site include Paolo Pantalena of course – the artist for my iconic feature image – but also Eric Basaldua, Dawn McTeigue, and Mike DeBalfo.

Also AI shoutout to Naughty Neurals.

 

COSPLAY

 

As for Lady Death cosplay, that’s a different story as it takes a certain statuesque quality in lingerie to pull it off. (And presumably a lot of white body paint, as well as white contacts and wig). One such model was Tabita Lyons (or Artyfakes) – so much so that Coffin Comics used her for one of their pinup covers. Alas Octokuro is another such model but has not done it. Dutch glamor model (and Playmate) April Eve was another model who rocked Lady Death.

Yummychiyo could absolutely pull it off with her insane figure but like Sciamano she tends to focus on characters from video games or anime. So too could Hane or Helly, but sadly no ranking from them either.

 

MEDIA

 

Apparently there was an animated film in 2004 but it didn’t rock.

 

RATING: 5 STARS*****
S-TIER (GODDESS-TIER)

 

Red Sonja 4 Dynamite Entertainment 2005 variant cover art by Marc Silvestri – also used as the cover for the Art of Red Sonja collected volume 2011

 

 

(3) RED SONJA (MARVEL-DYNAMITE 1973)

 

She-devil with a sword.

Archetypal barbarian babe – the scantily-clad voluptuous warrior or sword maiden that has emerged as a stock figure in fantasy art, down to her utterly impractical chainmail bikini.

She has shown off her she-devil swordplay ever since her 1973 debut in Marvel Comics’ Conan the Barbarian – earning her own title, like Xena to Conan’s Hercules.

Loosely based on an earlier character, Red Sonya, in a short story by Conan’s creator Robert E. Howard – but not one of his actual Conan stories.

She acquired her legendary skill in combat from the red goddess Scathach. Hence her chainmail bikini – she relies on her uncanny fighting skill, athleticism and (perhaps) divine protection rather than armor.

I have a particular soft spot for her as an embattled fantasy figure, striving against numerous foes, symbolic of the battles of life itself . And of course for that chainmail bikini.

 

ART & COSPLAY

 

For her iconic feature image, what else could I choose but the Marc Silvestri cover art that was also selected by Dynamite Entertainment as cover for their Art of Red Sonja collection? It’s also a classic pose by her in her classic chainmail bikini. Although it was a close call as one is spoilt for choice for fantastic Red Sonja art – really you could just scroll through her Dynamite covers.

 

ART – DANDONFUGA

 

As for my favorite Red Sonja art, that chainmail bikini is irresistible to pinup artists – if an artist is known for pinup art, they’ve probably done some Red Sonja at some point. A special shoutout has to go to Lucio Parrillo for his gorgeous painted Red Sonja cover art – she’s probably his most prolific subject with the possible exception of my second place entry.

Sadly no Sciamano ranking – I’d love to see his Red Sonja given his Rebecca from One Piece with her similar bikini armor – but fortunately she gets a Dandonfuga ranking as Dandonfuga steps up as usual for the top girls of comics.

As for my Red Sonja art top ten on the spot

1 – Dandonfuga (for my mandatry top Dandonfuga ranking)

2 – Lucio Parrillo (for regular outstanding cover art)

3 – Elias Chatzoudis (for regular outstanding cover art!)

4 – Sun Khamunaki (for distinctive Red Sonja art)

5 – Nathan Szerdy (for distinctive Red Sonja art!)

6 – Shannon Maer (for gorgeous cover art)

7 – J. Scott Campbell (for some of the most distinctive Red Sonja art)

8 – David Nakayama (for Red Sonja cover art in a modern style)

9 – Dan Panosian (Dan does good redhead art!)

10 – Josh Burns (for glorious painted Red Sonja art, often coupled with Vampirella)

 

SPECIAL MENTION

1 – Dynamite Entertainment (just scroll through those covers)

2 – Marc Silvestri (for my iconic feature image)

3 – Ed Benes (for his Red Sonja art as my personal favorite of all his art)

4 – Wagner Reis (for his Red Sonja cover art as a close call for feature image)

5 – Adam Hughes (for his standout art featuring Red Sonja’s shock at seeing herself in Slayboy – and the Slayboy centerfold as well)

6 – Amanda Conner (for her distinctive art)

AI shoutout to Nho Eskape, End of Line and Naughty Neurals.

 

COSPLAY

 

As for cosplay, it’s a big chainmail bikini to fill but Octokuro and Tabitha Lyons are more than up to the task, the latter for cosplay cover art for the Red Sonja comic itself.

Sadly no Yummychiyo, Hane or Helly ranking – all of whom would rock that chainmail bikini.

 

 

Promotional “coming soon” art for the 2025 Red Sonja film with Matilda Lutz in the title role

 

MEDIA

 

Yes – there was a 1985 Red Sonja film with Brigitte Nielsen in the title role but it didn’t have any impact. Although at least it was actually made, as opposed to the Red Sonja film in development in the 2010s with Rose McGowan (or Amber Heard) in the title role, albeit it gave us some good concept art posters. Things looked more promising for the 2025 Red Sonja film with Matilda Lutz as Red Sonja but had the same lack of impact as the film forty years beforehand.

 

RATING: 5 STARS*****
S-TIER (GODDESS-TIER)

 

Two variant Vampirella covers by Roberto Castro for Dynamite Entertainment – “homaging two legendary artists and covers for Vampi”, with the one on the right homaging her very first cover with art by Frank Frazetta for Warren Publishing in September 1969

 

(2) VAMPIRELLA (WARREN – DYNAMITE 1969)

 

The original classic ‘bad girl’ of comics.

Also a precursor of that modern fantasy figure, the good vampire who hunts other vampires, although with tongue firmly in cheek in Vampirella’s case.

In her deliberately campy origin story, she is an alien vampire – part of a race that evolved on the planet Drakulon, a world in which the water was blood (just go with it, ok?).

And she came to Earth, obviously packing only her holiday swimwear and boots.

She has been immortal ever since, albeit with different publishers and ever changing origin story (as a daughter of Lilith and Drakulon as part of Hell but, you know, a good part?). She’s still a good vampire hunting evil vampires.

She’s had her pick of top writers of comics – Grant Morrison, Mark Millar, Mike Carey, Alan Moore, Warren Ellis and Kurt Busiek

She’s iconic enough to be portrayed by promotional models and even a cameo in-joke in television’s Buffy the Vampire Slayer (sadly only a toy figurine).

Not bad for a vampire girl from Drakulon.

 

ART & COSPLAY (MEDIA & MODELS)

 

For her iconic feature image, there was any number of classic cover images that suggested themselves but I went with an image featuring two recent variant Vampirella covers by Roberto Castro for Dynamite Entertainment – “homaging two legendary artists and covers for Vampi”, with the one on the right homaging her very first cover with art by Frank Frazetta for Warren Publishing in September 1969

 

ART – DANDONFUGA

 

Her swimsuit costume seems even more irresistible to artists than Red Sonja’s chainmail bikini, although it’s probably too close to call as to which of the two of them is the greater muse to artists in comics, particularly as they are now both published by Dynamite Entertainment and have even crossed over with each other, although my favorite crossover between them was actually also a crossover with Betty and Veronica in Archie.

Sadly no Sciamano ranking – I’d love to see it as I think she would rock her swimsuit and boots in his art – but fortunately she gets a Dandonfuga ranking with Dandonfuga stepping up as usual for the girls of comics.

I’m spoilt for choice even more than for Red Sonja but here’s my top ten on the spot for Vampirella art:

1 – Dandonfuga (for my mandatory top Dandonfuga ranking)

2 – Sun Khamunaki (for art of Vampirella as one of her best and most recurring subjects)

3 – Nathan Szerdy (for art of Vampirella as one of his best and most recurring subjects, particularly for use of blood, light and shading)

4 – Elias Chatzoudis (for recurring cover art of Vampirella)

5 – Lucio Parrillo (for gorgeous recurring painted cover art of Vampirella)

6 – Shannon Maer (for gorgeous recurring cover art of Vampirella)

7 – Artgerm (for some of the most classic cover art of Vampirella)

8 – J. Scott Campbell (for one of the most classic cover art images of Vampirella)

9 – Keith Garvey (for his signature pinup art)

10 – Josh Burns (for gorgeous painted cover art of Vampirella)

 

SPECIAL MENTION

1 – Dynamite Entertainment (Just scroll through their covers – featuring most of the artists I’ve listed here and more)

2 – Roberto Castro (for my feature image, homaging two classic covers for Vampirella – including her very first cover! Speaking of which…)

3 – Frank Frazetta (the classic first cover of Vampirella)

4 – Dan Panosian (he does good Red Sonja so no surprise he does good Vampirella as well)

5 – Derrick Chew (for some great Vampirella art with other characters – my favorite Vampirella art with Purgatori)

6 – Amanda Conner (for classic Vampirella cover art)

7 – Dawn McTeigue (for some exotic Vampirella art)

8 – Mike Krome (for one cover in particular – which inspired some awesome cosplay)

9 – Luis Royo (who excels in fantasy art, particularly dark fantasy art vampire or other women – so not surprisingly he has done Vampirella)

10 – Kyu Yong Eom (for some reason Luis Royo prompts to mind Kyu Yong Eom – who has also done fantasy art of Vampirella)

11 – Mimi Yoon (for similarly exotic Vampirella art to that of Dawn McTeigue)

12 – Randy Green (for one of my favorite facial portraits of Vampirella)

13 – BTG (for some of my favorite digital art of Vampirella)

Shout-out to Vampirella in AI – Naughty Neurals for their images of Vampirella, Nho Eskape for their inventive images of Vampi (as images of Vampirella are apparently hard to prompt), and End of Line for their composite digital art image of Vampirella.

 

COSPLAY – HELLY

 

As for cosplay, like Red Sonja’s chainmail bikini, it’s a big swimsuit and boots to fill. Sadly no Yummychiyo or Hane ranking – both of whom would rock the swimsuit and boots since they have sported similar swimsuit designs for other cosplay – but Vampirella certain scores a Helly ranking, with one of my favorite cosplays by Helly Valentine.

Just as they filled out Red Sonja’s chainmail bikini to perfection, so too not surprisingly do Octokuro and Tabitha Lyons fill out Vampirella’s legendary swimsuit in the same way – to which we can add Kalinka Fox for her Vampirella cosplay. Also Lada Lyumos for cosplay of that Mike Krome cover.

 

Kitana Baker model photo cover – Vampirella: Southern Gothic 4, Dynamite Entertainment, November 2013

 

 

MEDIA & MODELS

 

Where is the screen Vampirella adaptation?!

Well yes, other than the 1996 film with Bond girl Talisa Soto in the lead role which…did not have much of an impact, although Talisa is cute enough.

However, Vampirella has a long history of official cover models portraying her – enough for a top ten or twenty – including her present models (Joanie Brosas, Faces by Rachie, and Rachel Hollon), but the standout model for me will always be Kitana Baker. I will accept no debate on this topic.

 

And for more Vampirella top tens…

Top 10 Girls of Vampirella
Top 10 Girls of Vampirella (Special Mention)

 

RATING: 5 STARS*****
S-TIER (GODDESS-TIER)

 

Wonder Woman cover art by Ed Benes

 

 

(1) WONDER WOMAN (DC 1941)

 

Could there be any doubt? The top position has to go to THE most famous, THE most iconic and THE most enduring superheroine in comics.

Visually striking – blue-eyed, raven-haired and voluptuous in her star-spangled costume, with her golden lariat of truth and her bullet-deflecting bracelets.

With a story drawn from classical mythology, the Amazon Princess Diana of Themyscira was created by American psychologist William Moulton Marston, who also invented the polygraph lie detector – hence the lariat.

Marston also had a keen interest in bondage, hence the recurring bondage theme of his comics. And also the lariat.

Anyway, along with Catwoman, she was my other earliest childhood crush.

“Wonder Woman! Wonder Woman!
All the world is waiting for you and the power you possess
In your satin tights, fighting for your rights
And the old red, white and blue!”

 

ART & COSPLAY (MEDIA & MODELS)

 

For her iconic feature image, I’ve chosen the New 52 cover art by Ed Benes, featuring her in what I consider to be her classic costume (except for the cape) – and Ed Benes does damn fine art.

 

ART – DANDONFUGA

 

Sadly no Sciamano ranking – despite Sciamano’s focus on characters from video games or anime, I still find it surprising that he has not done any art of Wonder Woman at least. However, she does score a Dandonfuga ranking with some of my favorite art of Wonder Woman, particularly in her modern costume.

 

As for my Wonder Woman art top ten on the spot

1 – Dandonfuga (for my usual Dandonfuga ranking in top spot)

2 – Sun Khamunaki (for consistently good art)

3 – Nathan Szerdy (for Wonder Woman as one of his best recurring subjects)

4 – J. Scott Campbell (for my favorite series of Wonder Woman covers for her anniversary, with her holy trinity of vintage, classic and modern costumes)

5 – David Nakayama (for some of the best recent Wonder Woman comics covers)

6 – Stanley “Artgerm” Lau (for his signature cover art)

7 – Warren Louw (for one of my favorite images of Wonder Woman)

8 – Keith Garvey (for his signature pinup art)

9 – Elias Chatzoudis (also for his signature pinup art)

10 – Neoartcore (for art of Wonder Woman by one of my favorite – and most prolific – digital artists)

 

SPECIAL MENTION

1 – DC Comics (for their Wonder Woman comics cover art in general, including most of the artists in this top ten or these special mentions)

2 – Ed Benes (for my feature image)

3 – David Finch (who came very close to scoring my iconic feature image with his cover art)

4 – Michael Turner (with yet another contender for iconic feature image)

5 – Nicola Scott (Australian artist for whom Wonder Woman is one of her best subjects – including a collage of the different costumes)

6 – Shannon Maer (for art in his characteristic style)

7 – Will Jack (for art in his characteristic style)

8 – Greg Horn (for art in his chacteristic style)

9 – Dan Panosian (for his Wonder Woman cover art)

 

Shoutout to her as a recurring subject for AI imagery – Nho Eskape, End of Line and Naughty Neurals

 

COSPLAY

 

As for cosplay, she is sadly under-represented among my favorite cosplay models – no Yummychiyo, Hane, or Helly, all of whom would rock the most iconic girl of comics. My favorite Wonder Woman cosplay is by fitness model Denise Milani, whose statuesque proportions were shaped by the Olympians themselves for it. Kalinka Fox and Tabitha Lyons are close runners up.

 

Collage of matching poses by Lynda Carter as Wonder Woman in the 1976 TV series and Gal Gadot as Wonder Woman in the DC Extended Universe films

 

 

MEDIA & MODELS

 

As for her media appearances, two come to mind foremost for Wonder Woman – Lynda Carter in the 1970s TV series and Gal Gadot in the DCEU films.

 

“Ugh, how does she pull off those clunky bracelets?” Diana or Wonder Woman as she appears in the Harley Quinn animated TV series (voiced by Vanessa Marshall) – profile image from the fan wiki

 

Animation honorable mention for her depiction in the Harley Quinn animated series voiced by Vanessa Marshall. Although let’s face it – Wonder Woman will look good in almost any live-action or animated appearance.

 

 

Collage of Australian models Megan Gale as Wonder Woman (left) and Miranda Kerr as Wonder Woman (right) for her Australia Day photo shoot with Grazia fashion magazine

 

And here’s my top ten on the spot for models or celebrities who have donned the Wonder Woman costume:

1 – Megan Gale

Australian model who almost played her for a Justice League film to be directed by none other than…George Miller. Oh – what could have been! Well at least Miller had her show up naked in Mad Max Fury Road (as the bait in the “that’s bait” scene since immortalized in meme)

2- Miranda Kerr

Speaking of Australian models, this Aussie supermodel donned the Wonder Woman costume and waved the Australian flag for her Australia Day photo shoot with Grazia fashion magazine. Come to think of it, it’s not just the American flag that matches the star-spangled red white and blue of Wonder Woman’s costume – the Australian flag could do just as well for Wonder Woman’s costume!

3 – Rachel Bilson

I can literally tell you nothing else about TV series The OC other than that Rachel Bilson dons the Wonder Woman costume in it as a present for her boyfriend. And everyone else, not least the audience

4 – Olivia Munn

It’s Olivia Munn. ‘Nuff said – hot nerd alert. (She’s a fan of comics so naturally has worn the Wonder Woman costume)

5- Kaley Cuoco

Speaking of Harley Quinn, Kaley Cuoco donned the costume in The Big Bang Theory

6 – Sarah Michelle Gellar

Buffy does Wonder Woman! I think it was for a SNL skit.

7 – Adrianne Palicki

Another model and actress who was cast as Wonder Woman – in this case in an unaired 2011 TV pilot

8 – Kim Kardashian

9 – Kendall Jenner

I suppose I’ll open it up to celebrity Halloween costumes or cosplay – and as usual, these two made headlines.

10 – Anissa Kate

Ahem. Yes of course Wonder Woman has been a favorite subject for depiction in, ah, adult films. Indeed, I could have compiled this top ten purely from adult film stars cast in the role but I’ll go with Anissa Kate as the best (and also from the images I found compiling this top ten the one modelled most closely on Gal Gadot’s depiction in the DCEU).

 

And as for more Wonder Woman top tens…

 

RATING: 5 STARS*****
S-TIER (GODDESS-TIER)

 

 

 

 

FANTASY GIRLS –
GIRLS OF COMICS: TOP 10 (TIER LIST)

 

S-TIER (GODDESS TIER)

(1) WONDER WOMAN

Yeah – she pretty much defined girls in comics for me.

(2) VAMPIRELLA

(3) RED SONJA

(4) LADY DEATH

(5) HARLEY QUINN

If Wonder Woman is my Old Testament of girls in comics, then Vampirella, Red Sonja, Lady Death and Harley Quinn are my New Testament.

 

A-TIER (TOP TIER)

(6) CATWOMAN

(7) ZATANNA

(8) POISON IVY

(9) BLACK CAT

 

X-TIER (WILD TIER)

(10) SERAPHINA

Finally my wildcard tenth place entry as best of 2025 is Seraphina.

Friday Night Funk – Top 10 Music (Mojo & Funk): Special Mention (Funk): (3) Groove Armada – I See You Baby

 

Groove Armada’s logo

 

(3) FUNK: GROOVE ARMADA –
I SEE YOU BABY (1999)
B-side: Paper Romance (2010)

 

“This is the house that funk built – Groove Armada style!”

Nuff said.

Or perhaps not – Groove Armada (English electronic music duo Andy Cato and Tom Findlay) is another big beat funk entry from the 1990’s.

This entry, I See You Baby, is arguably their signature single and certainly one of the defining songs of 1999-2000. Although the original single was funky in itself, I prefer the even funkier remix by Fatboy Slim. (Interestingly, the duo DJ’d Fatboy Slim’s – or rather, Norman Cook’s – wedding). Watch out for that video – it gets a little raunchy

“You got to get on the dance floor…Oh this party got it going on!”

Don’t look for much in the way of lyrical depth (or lyrics) there – it’s all about the funk.

For my B-side – their 2010 single Paper Romance from their album Black Light (also remixed with other songs in their White Light album that year)

As for the balance of my Top 10 Groove Armada songs:
(3) Song 4 Mutya (2007)
(4) If Everybody Looked the Same (1999)
(5) Madder (2003)
(6) Superstyling (2001)
(7) My Friend (2001)
(8) Think Twice (2002)
(9) Purple Haze (2002)
(10) But I Feel Good (2003)

 

RATING: 4 STARS****
A-TIER (TOP TIER)

Top Tens – History: Top 10 History Books (6) Adrian Goldsworthy – How Rome Fell

 

Cover – 2010 Yale University Press edition

 

(6) ADRIAN GOLDSWORTHY –

HOW ROME FELL: DEATH OF A SUPERPOWER (2009)

 

 

I’ve used the American title for the book because I prefer it as more catchy – and it also prompts to mind one of my personal highlights of the book in its introduction, dismissing the cliché of comparing the decline and fall of the Roman Empire to the modern United States (a cliché with which Goldsworthy entertainingly relates that he is routinely accosted at dinner parties when he informs someone of his historical speciality).

 

As to the question in the book’s title, in a nutshell Goldsworthy answers that they did it to themselves. It’s a little like the twist in Fight Club, with the Romans revealed as the protagonist beating himself up, to the bemusement of the barbarian onlookers – and their delight when picking up the pieces.

 

I think it’s a solid answer. Goldsworthy does not dismiss the various barbarian invasions as the reason for the empire’s demise but that looks to the question of how they did so, given that the empire’s adversaries were not fundamentally different from when the empire successfully resisted them – and in the case of the various German tribes, so surprisingly small compared to the empire.

 

As Goldsworthy memorably observes, no matter who won their seemingly endless civil wars or wars of imperial succession, the losses were all Roman, weakening the empire as a whole against its external adversaries. Another memorable observation is how the Romans never really left the crisis of the third century, just muted it to fewer civil wars and usurpations.

 

Also, the Romans ultimately played a losing game enlisting German tribes as allies or foederati in its own territory – in that the territory occupied by the Germans was no longer Roman territory, with the Romans losing any revenue from those territories, or any manpower beyond that provided by the Germans. Thanks a lot, Theodosius – you empire killer.

 

As for the history itself, Goldsworthy takes the same starting point as that of Gibbon’s famous History of the Decline and Fall of the Roman Empire – itself following on from Roman historian Cassius Dio who marked it as their descent from “a kingdom of gold to one of rust and iron” – the death of Marcus Aurelius and accession of Commodus in 180 AD.

 

However, he pulls up stumps well before Gibbon’s finishing point, wrapping up the book aptly enough with the reign of Heraclius and the empire’s territory lost to the Arabs.

 

 

RATING: 4 STARS****

A-TIER (TOP TIER)

Top Tens – History: Top 10 History Books (7) Peter Heather – The Fall of the Roman Empire

Cover 2007 paperback edition published by Oxford University Press – the edition I own

 

 

(7) PETER HEATHER –

THE FALL OF THE ROMAN EMPIRE: A NEW HISTORY OF ROME & THE BARBARIANS (2005)

 

Once again it’s the titular fall of the Roman Empire, that “melancholy, long, withdrawing roar, retreating to the breath of the night-wind, down the vast edges drear and naked shingles of the world”.

As I said in the previous entry, the usual discourse or debate over the decline and fall of the Roman Empire is as to which of those two predominate – that is, whether it was more a matter of internal decline or external fall. Proponents of the latter have been dubbed the Movers – tracing “the collapse of the Western Roman Empire to external migration” – to be contrasted with the former as the Shakers, tracing “the collapse to internal developments within the empire”.

Heather falls squarely in the camp of the Movers.

“Heather contends that it was the movements of “barbarians” in the Migration Period which led to the collapse of the Western Roman Empire. He accepts the traditional view that it was the arrival of the Huns on the Pontic steppe in the late 4th century which set these migrations in motion. Heather’s approach differs from many of his predecessors in the late 20th century, who have tended to downplay the importance migration played in the fall of the Western Roman Empire…According to Heather, the idea that the invading barbarians were peacefully absorbed into Roman civilisation “smells more of wishful thinking than likely reality”.

In a nutshell, Heather’s thesis is that the barbarians did it. Well, perhaps not quite the barbarians the Romans knew them, as his thesis is that the barbarians had changed to match Rome in military capacity.

“Centuries of imperialism turned the neighbors Rome called barbarians into an enemy capable of dismantling an Empire that had dominated their lives for so long… Europe’s barbarians, transformed by centuries of contact with Rome on every possible level, eventually pulled the empire apart…the Huns overturned the existing strategic balance of power on Rome’s European frontiers, to force the Goths and others to seek refuge inside the Empire. This prompted two generations of struggle, during which new barbarian coalitions, formed in response to Roman hostility, brought the Roman west to its knees… the Roman Empire was not on the brink of social or moral collapse. What brought it to an end were the barbarians.”

With this nutshell comes eye-opening nuggets. There’re those new barbarian coalitions with their capacity to mobilize critical masses of military force that were able to match those of the Romans – and which in a perfect storm of a combination of critical masses outmatched and overwhelmed the empire. It’s always intrigued me how the barbarians, with such tiny populations in proportion to the empire, were seemingly able to punch so far above their weight.

I also gained a new appreciation of the resilience of the western Roman empire, particularly in the ability of the strongmen who actually ruled it in the fourth and fifth centuries to repeatedly stabilize the chaos that invariably ensued from the collapse of the previous strongmen – although it was something of a ratcheting down effect, as each successive stabilization lost that little bit more.

Heather also persuaded me that the eastern empire was not entirely supine sleeping through the fall of the western empire, as it did lend military aid at more points than I had sneered at it for, but I stand by it was not much more – and with poor effect, luck or timing – such that it mostly slept through the fall of the west, particularly under the emperor Theodosius II.

That’s right – the Theodosian dynasty, the dynasty I love to hate, the dynasty in which the only good members (Constantius III and Marcian) married into it.

 

RATING:

A-TIER (TOP TIER)

Top Tens – History: Top 10 History Books (8) Kyle Harper – The Fate of Rome

2018 hardcover edition – the edition I own

 

 

(8) KYLE HARPER –

THE FATE OF ROME: CLIMATE, DISEASE & THE END OF AN EMPIRE (2017)

 

“We are only mortal

but being mortal

can defy our fate.

We may

by an outside chance

even win!”

 

Or maybe not in the case of the Roman Empire, although it gave a good red-hot go of it with one of humanity’s best pre-modern winning streaks, for a couple of centuries at least.

Although as this book points out, while the Roman Empire’s winning streak was impressive, it is less impressive than it might have otherwise seem given that it coincided perfectly with the optimal environmental circumstances for it – the warm climate period literally named for it as the Roman Warm Period and the absence of high mortality pandemics that were the most lethal invasions of the Roman Empire by far.

While I’m quoting poetry – aptly enough William Carlos Williams’ The Ivy Crown, although it would be more apt as The Laurel Wreath – I’m fond of quoting Matthew Arnold’s Dover Beach for the decline and fall of the Roman Empire, as that “melancholy, long, withdrawing roar, retreating to the breath of the night-wind, down the vast edges drear and naked shingles of the world”.

And rarely have I felt that roar to be so melancholy or overwhelming as in this book, as indeed the fate of the empire. The usual discourse or debate over the decline and fall of the Roman Empire is as to which of those two predominate – that is, internal decline or external fall.

This book falls (heh) on the fall side of the decline vs fall argument but so distinctively as to open up an entirely new third front, a fall to adversaries entirely different and far more destructive than its human ones – the adversaries of natural environment, climate, and pandemic.

“How devastating viruses, pandemics, and other natural catastrophes swept through the far-flung Roman Empire and helped to bring down one of the mightiest civilizations of the ancient world…how the fate of Rome was decided not just by emperors, soldiers, and barbarians but also by volcanic eruptions, solar cycles, climate instability, and devastating viruses and bacteria…from Rome’s pinnacle in the second century, when the empire seemed an invincible superpower, to its unravelling by the seventh century, when Rome was politically fragmented and materially depleted.”

On the role of pandemics, the book is essentially a tale of three plagues, each of which recurred or reverberated for extraordinary lengths of time – the Antonine Plague (hypothesized as smallpox) and which strained the empire’s resilience to breaking point on the eve of the Crisis of the Third Century, the Cyprian Plague (something akin to Ebola) and which fuelled the Crisis, and the Justinian Plague (bubonic plague) which ended the Roman superpower of antiquity (albeit the Eastern Roman Empire endured as a “Byzantine rump state”)..

 

RATING:

A-TIER (TOP TIER)

Top Tens – History: Top 10 History Books (9) Walter Scheidel – Escape from Rome

Cover of 2020 ediition – the edition I own

 

 

(9) WALTER SCHEIDEL –

ESCAPE FROM ROME: THE FAILURE OF EMPIRE & THE ROAD TO PROSPERITY (2019)

 

Or how I learned to stop worrying and love the fall of Rome.

 

Playing on Monty Python’s Life of Brian, what has the Roman empire ever done for us? This book gives its answer – fall and go away.

Or perhaps more precisely, fall and never come back – not just the Roman empire but any empire with the same extent of predominance in Europe.

Although at least that did impress me with the unique achievement of the Romans – that no one else, before or since, have ever been able to replicate their empire in Europe (or the Mediterranean). Even for the Romans it arose from applying their distinctive strengths at a unique, and limited, window of opportunity in time and place.

And that’s a good thing. In short, the thesis of this book is that the fall of Rome led to the Great Divergence – that divergence of “political, economic, scientific, and technological breakthroughs that allowed Europe to surge ahead while other parts of the world lagged behind”. Essentially, that’s because of “competitive fragmentation”, both within states and perhaps more fundamentally between them, with “the enduring failure of empire-building” and no single state ever able to rise Rome’s imperial predominance in Europe. The main contrast is with China as polar opposite, with its consistent unitary imperial states, with the other Eurasian civilizations between them geographically also falling between them on this political scale.

Half of my top ten are entries for books about the fall of Rome but this one made me feel good about it!

However, unlike the other entries for the fall of Rome in my top ten, this book intentionally skirts any analysis of the fall itself. Its analysis is much broader – of the factors for the rise of Rome and why no state was able to replicate it, the factors for “competitive fragmentation” arising from the fall of Rome and contrast with China or the rest of Eurasia, and how that competitive fragmentation gave rise to the Great Divergence.

 

RATING:

A-TIER (TOP TIER)

Top Tens – History: Top 10 History Books (10) Barry Strauss – Jews vs Rome

Cover of the 2025 hardcover edition – the edition I own

 

 

(10) BARRY STRAUSS –

JEWS VS ROME: TWO CENTURIES OF REBELLION AGAINST THE WORLD’S MIGHTIEST EMPIRE (2025)

 

No surprise here for my wildcard tenth place entry for best of 2025 – this book has a fascinating subject written in an engaging style.

The Roman Empire has been argued to be the greatest empire in history, not least by me in my Top 10 Empires – a superpower that was almost unchallenged for the two centuries or so of its peak extent. Almost unchallenged, that is, as it faced revolts even at its peak and none more so than those of its Jewish subjects, with not just one but three revolts between 66 AD to 136 AD – two in the province of Judea itself and the third among the wider Jewish Diaspora outside the empire.

“No other people in the empire – and there were many other rebel nations – had such a record”.

The Great Revolt or Jewish War from 66 AD to 74 AD was the big one – at least in the historical record it left behind, primarily by the contemporary Jewish historian Josephus, a combatant on the Jewish side before swapping sides to the Romans, although also casting a shadow as far as the Gospels with their foreshadowing of Jerusalem’s doom.

After that came the Diaspora Revolt – or more precisely, Diaspora Revolts – from 116 AD to 117 AD, and then the other big one, the one in which Roman emperor Hadrian literally wiped the province of Judea off the map, the Bar Kokhba Revolt from 132 AD to 136 AD.

This book was an eye-opener, revealing the Jewish revolts to be more than the minor road bumps for the Roman Empire I had perceived them to be, albeit major for the Jews. The Romans took the revolts seriously indeed, terminating them with extreme prejudice – not only for the challenge the revolts themselves posed, but even more so for the bigger challenge that loomed behind them, the Parthian Empire, “the sole empire remaining in Rome’s orbit that could challenge its power”.

“The rebels of 66 CE humiliated the Roman legions. They first threatened, then succeeded in contributing to a Roman defeat at the hands of the only rival empire that Rome still feared. They cost the legions a huge expenditure in blood and treasure before finally the rebellions were put down”.

As this book points out, Rome committed an incredibly large proportion of its imperial armed forces to putting down revolts in a small province.

Here the book had further revelations – the Jewish revolts always seemed hopelessly doomed and self-destructive but this book illustrated the strategic and tactical calculations of the rebels that lent the revolts better prospects that one might have thought, albeit even if only from completely hopeless to mostly hopeless.

Only to shift back to completely hopeless again, from failure to play to their strengths and better prospects of guerilla warfare, but even more so from the fundamental disunity of the revolts, as the war against Rome was also a Jewish civil war.

In the end, the Jewish revolts amounted to something akin to a ghost dance – indeed, what I have dubbed half the Bible elsewhere, the great messianic ghost dance – but which contributed to the rise of a ghost dance that actually won, Christianity.

 

RATING:

X-TIER (WILD TIER)

Top Tens – History: Top 10 History Books (Revamped): Introduction

Marble bust of Herodotus, the “Father of HIstory” – public domain image donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art

 

TOP 10 HISTORY BOOKS (REVAMPED)

 

That’s right – I’m revamping my top ten history books, with no fewer than six new entries! Although one of those is a new wildcard tenth place entry for the best history book of 2025…

 

History repeats itself – the first time as tragedy, the second time as farce.

History does not repeat but sometimes it rhymes.

History is just one damned thing after another.

 

Ah yes, history – and three of my favorite quotes about it.

The first is paraphrasing an actual quote by Karl Marx – often overlooked by people, even Marxists, as someone who could be quite the capable prose stylist when not bogged down in denser prose or theory.

The second is often attributed to Mark Twain – someone who is widely acknowledged as a capable prose stylist, except that he doesn’t seem to have actually said it.

The third quip is often quoted from historian Toynbee – correctly but somewhat misleadingly because firstly, it was adapted from a preceding popular saying about life, and secondly, he was using it to criticize historians who simply sought to chronicle history rather than analyze it. Toynbee definitely fell in the latter category – a historian whose central theme was identifying, well, the themes of history, its cycles and patterns, its plot and rhythm (or history rhyming if you will).

History has been a subject that has fascinated me since childhood, when I read it avidly – and still does as I read it now, hence my Top 10 History Books.

“History is an academic discipline which uses a narrative to describe, examine, question, and analyze past events, and investigate their patterns of cause and effect. Historians debate which narrative best explains an event, as well as the significance of different causes and effect. Historians debate the nature of history as an end in itself, and its usefulness in giving perspective on the problems of the present.”

I’m not here to seek to resolve any of these debates, if such a thing is even possible – I’m just here to read books on history and, you know, live in it. To adapt my own quote of living in a mythic world, I live in a historic world. We all do.

That said, what I will do is clarify my tastes in history books. I definitely lean more towards Toynbee’s concept of history as themes or patterns, preferring history books that are more analysis than chronicle.

I also tend to have a preference for military history – put bluntly, the history of wars and empires. Two of my top ten books are general histories of war and warfare – and I’d argue for my top spot as a third such entry, not so much military history of itself but a historical treatise of military strategy as a lens with which to view history in general and military history in particular.

To which I might add a fourth entry – which is also literally the fourth entry in my top ten – as my favorite military history of the Second World War, which I often dub my bible of that war. So that’s four of my top ten books as military history in one way or another.

Following on from the history of wars and empires, it might be cliched but foremost among my subjects of preference is the Roman Empire and indeed six of my top ten books have that as their subject – with five of those looking at the proverbial decline and fall of the empire, being my particular focus within that subject of preference. So that’s six of my top ten books as histories of the Roman Empire, with five of them being histories of its decline and fall in one way or another.

I also can’t invoke capable prose style in my introduction without noting my preference for a good or even literary prose style in my books of history – some historians or historical writers are definitely better than others.

So here are my top ten books of history. You know the rules – this is one of my deep dive top tens, counting down from tenth to first place and looking at individual entries in some depth or detail of themselves. Tenth place is my wildcard entry for the best entry from the previous year (2025).

Top Tens – Girls: Top 10 Girls of Mythology (Special Mention: Complete Rankings)

Cover of War Goddess issue 9 released by Avatar Press August 2012

 

 

TOP 10 GIRLS OF MYTHOLOGY (SPECIAL MENTION)

 

That’s right – I can find Fantasy Girls in anything.

I’ve ranked my Top 10 Girls of Mythology but there’s always more goddesses and mythic female figures – certainly more than enough for my usual twenty special mentions for each top ten.

Of course, this continues to be something of a personal novelty list, as my Girls of Mythology don’t tend to have the same art or cosplay as my usual Fantasy Girls in popular culture, but they still have surprisingly more name recognition or adaptations in popular culture than those from other areas of culture. And perhaps even more surprisingly, since some of them do pop up in popular culture – even in comics or video games – they do feature in art and cosplay. Of course, it helps to have video games in which gods and goddesses are playable characters, such as the game Smite.

And they also continue to be reasonably diverse – mostly goddesses of course, but a few mortal girls or at least semi-mortal, as well as from a range of my favorite mythologies.

Anyway, here are the special mentions for my Top 10 Girls of Mythology.

 

 

One of my favorite depictions of the Triple Goddess in Slaine: The Horned God by Pat Mills
with art by Simon Bisley – in these panels, the depiction is more in the script although she is accompanied by three nymphs as a visual depiction of the Triple Goddess in other panels

 

 

(1) TRIPLE GODDESS (HECATE)

 

She is the triple goddess

maiden, mother, crone

grace, fate, fury

lover, mother, bitch

 

The Triple Goddess – maiden, mother, and crone – of modern neopaganism, usually depicted as the Goddess, or dare I say it, holy trinity.

As TV Tropes notes, this Triple Goddess “has the unusual distinction of being either older than feudalism or newer than they think” – in that it is usually seen as a modern adaptation (particularly through Robert Graves) but one which claims ancient heritage, adapting divine female figures into an uber-goddess or Goddess, a supreme female divine figure with three manifestations, albeit overlapping.

Each of those three manifestations – maiden, mother, and crone – are essentially condensations of the distinctive roles or facets of goddesses or divine female figures throughout mythology.  Some goddesses or divine female figures in mythology may combine all three manifestations and hence be triple goddesses (or the Triple Goddess) of themselves, while others may lean more to one manifestation than another – for example, goddesses of love and beauty lean more towards the maiden.

A major inspiration and source for the Triple Goddess is Hecate, so much so that TV Tropes named their trope for the Triple Goddess as the Hecate Sisters. Although the earliest known images of Hecate were singular in nature, she came to be generally represented as a three-formed goddess (often triple bodied or triple headed). Of course, Hecate’s triple form tended to be of the same age and appearance, as opposed to the three ages and appearances of the Hecate sisters or Triple Goddess – young and beautiful maiden, mother (of maternal age obviously, but varying in appearance), and crone.

Hecate or Hekate – chthonic classical Greek goddess of night, magic and witchcraft.

Liminal goddess of borders and crossroads of all kinds, including those with realms outside or beyond the world of the living, and as such, also a chthonic or underworld goddess, closely associated with (if not an aspect of) Persephone, the queen of the underworld. She was also an apotropaic goddess, protecting from or warding off dangerous or destructive spirits.

Also, dogs were closely associated with and sacred to her, which combined with her otherworldly role as a liminal goddess of magic, would be more than enough to earn her special mention.

 

RATING: 5 STARS*****

S-TIER (GODDESS TIER)

 

 

Nymphs as depicted in art for Dungeons & Dragons 4e from the Forgotten Realms wiki – spring, summer, autumn, and winter nymphs

 

 

(2) NYMPHS

 

I’m into classical mythology for the nymphs!

Special mention has to go to those definitive female figures of classical mythology – nymphs.

Nymphs were divine female spirits of nature, most notably trees (dryads) and water (naiads and nereids), but there were myriad others. Some have seen them as originating from animistic goddesses or even sacred priestesses.

Of course, something of their sensual nature is suggested by their modern derivation of nymphomania, although that does somewhat cheapen their classical stature. I’m still hanging out for a modern derivation of nymphocracy as an ideology I could get behind.

Personally, I was enamored of them upon reading Bulfinch’s Mythology, which I fortunately read at the same time as the Bible in my childhood days – so that paganism won out as visions of angels could never compete with dreams of nymphs. Even Christian writer C. S. Lewis was so enamored from his original classicism that he populated his fantasy Narnia with nymphs, earning his place in my ranks of pagan saints. Hot damn – he even had Dionysus and his maenads, albeit toned down.

 

RATING: 5 STARS*****

S-TIER (GODDESS TIER)

*

Collage of The High Priestess (left) and The World (right) from the most iconic modern Tarot deck, the Rider-Waite Tarot deck designed by A.E. Waite and Illustrated by Pamela Colman-Smith (first published by William Rider & Son in 1909, hence the name) – public domain image

*

(3) TAROT – THE HIGH PRIESTESS & THE WORLD

 

The Tarot may have its mystique and even its mythos, but does it have its girls of Tarot?

O yes – hence this special mention, drawn from the archetypal characters of individual cards, particularly those of the more iconic Major Arcana or “trumps” of the Tarot.

As I pointed out in my complete equal rites rankings for mythologies, the cards don’t lie as to the Tarot’s goddess-tier ranking. The Major Arcana – the 22 major cards of any Tarot deck – isn’t quite evenly balanced between its male and female figures but it comes close with ten of its cards as female figures and arguably they make up that slight deficit in quantity with better quality in positive aspects or meanings.

The Minor Arcana are also balanced, with two of its suits traditionally seen as female – the suit of Cups (often identified with Hearts in modern decks and associated with the ‘female’ element of water) and the suit of Coins or Pentacles (often identified with Diamonds in modern decks and associated with the ‘female’ element of earth). The court cards are also balanced in some decks, with jacks or pages often converted to princesses or otherwise seen as female to add a second female court card to the queens.

As for my top girl of Tarot, I have to go with the card that is the supreme or ultimate culmination of the Major Arcana – the World. The World is the Tarot’s vision of the world as the eternal feminine or goddess – as cosmic dance and dancer, the goddess dancing with the stars.

The World is arguably the cosmic counterpart of the High Priestess, hence her inclusion in this special mention entry – although it was a close call with the Empress, a similar card in many ways including as counterpart of the World goddess, but in the end, the Empress flaunts herself where I prefer the coy feminine mystery of the High Priestess.

The High Priestess is also similar to – and female counterpart – of the Magician. She represents a guiding influence, female source of magic or imagination, intuition or wisdom, hidden or occult knowledge…and initiation into her mysteries. O yes!

Typically, she is presented as a veiled woman, crowned with a crescent moon at her feet, evoking the moon (or the Moon as yet another counterpart card) and underworld goddesses, such as Persephone or Hecate (with more than a touch of Hecate’s triple goddess aspect of the latter)

Are you worthy to see beyond the veil, for revelation – to taste her secrets and mysteries?

 

RATING: 5 STARS*****

S-TIER (GODDESS TIER)

*

The face of Aphrodite excerpted from Botticelli’s The Birth of Venus

*

(4) LOVE & LUST DEITIES

 

“Goddess on a mountain top

Was burning like a silver flame

The summit of beauty and love…

She’s got it

Yeah, baby, she’s got it”

 

She is the goddess and this is her body –

O yes!

 

Special mention has to go to all the female love and lust deities of the world. To quote the Flight of the Conchords, I want to get next to you, show you some gratitude, by making love to you – it’s the least we could do-o-o!

Ain’t no goddess like the proverbial love goddess! A goddess to get down on your knees for – and pray to with every tongue known to man or woman.

Of course, not all love and lust deities are female – some are male, often emphatically phallic-ly so, and we just may feature those in my special mentions for the Top 10 Heroes of Mythology. And some are more fluid yet.

But I have a special place in my heart and loins for a love goddess, as it does many a pantheon. Of course, that can be seen in that four entries in my Top 10 Girls of Mythology are love or lust goddesses – our top girl of mythology Aphrodite or Venus, as well as Ishtar or Inanna, Freya and Erzulie. To those might be added so many more from pantheons around the world, such that they deserve their own top ten.

 

RATING: 5 STARS*****

S-TIER (GODDESS TIER)

*

 

 

Terra in her “Spriggan” skin from character profile in the Smite video game

 

 

(5) EARTH MOTHER / MOTHER EARTH – GAIA

 

“A divine female figure personifying the Earth, representing creation, nature, fertility, and sustenance” – “the deification of the Earth associated with a figure with chthonic or terrestrial attributes”.

There is a recurring tendency in mythology for deifying or personifying the Earth by a divine female figure, usually maternal at least in part – one that continues even in popular culture and imagination with Mother Nature.

That tendency often involves pairing the divine earth mother with a divine sky father, particularly in mythologies originating from Indo-European mythology but not limited to them as there are parallels in other mythologies.

It is by no means a universal tendency, particularly when one moves beyond Indo-European mythology – Egyptian mythology for example had an earth god (Geb) and a sky goddess (Nut).

As noted, an earth goddess or earth mother represents creation, nature, fertility, and sustenance – usually in a maternal way or representing motherhood. However, that can involve surprising ramifications. Perhaps least surprising is the earth mother as “cosmic foundation” or as representing “the bedrock of existence”, preceding other deities. More surprising is earth goddesses often being identified with chthonic attributes, if not outright as a chthonic deity, or at least being “associated with the chthonic deities of the underworld”. They can be dual figures – the earth mother gives (in fertility or harvests) and the earth mother takes away (in disasters or famine). Finally, they are often associated with prophecy or oaths.

The earth mother is one of four archetypal “pagan goddesses” in Christian Europe that historian Richard Hutton identified in his book Queens of the Wild – two of the others are the subject of my next two special mention entries.

The archetypal earth goddess or mother is Gaia in classical Greek mythology, although the Olympian goddess Demeter assumed many of her attributes as earth goddess. Indeed, Gaia has continued to have a resonance as a figure representing earth or nature in philosophy or science. However, there are enough earth mother or earth goddess figures for their own top ten list.

 

RATING:

A-TIER (TOP TIER)

*

Moon goddess Selene with her chariot in the relief of Rosenstein Palace, Germany (public domain image)

*

(6) MOON & STAR GODDESS (LADY OF THE NIGHT)

 

“A moon goddess is a deity personifying the Moon…embodying lunar power, beauty, mystery, and cycles”.

Similarly to the recurring concept of earth mothers or earth goddesses, there is a recurring tendency in mythology for deifying or personifying the moon by a divine female figure – albeit not with the same maternal symbolism or as enduring in popular culture and imagination with the female personification of Mother Nature.

And again similarly to earth mothers paired with sky fathers, the tendency for lunar goddesses often involves pairing lunar goddesses with solar gods, albeit by no means universal as there are solar goddesses and lunar gods.

As noted, moon goddesses embody lunar power, beauty, mystery and cycles.

 

“Cycles & Transformation: Representing phases of the moon, tides, fertility, and feminine power.

Night & Mystery: Governing the darkness, often linked with magic, dreams, and the underworld.”

 

I’ve expanded this entry to the concept of star or stellar goddesses because I like the image of the goddess dancing with stars – but I have to concede that it’s not a concept as prolific as that of the moon or lunar goddess, except to the extent that the sphere of moon or lunar goddesses usually extends to the night or nights, or that there are night goddesses like Nyx.

Along with the earth mother, the lady or mistress of the night is one of four archetypal “pagan goddesses” in Christian Europe that historian Richard Hutton identified in his book Queens of the Wild – a third is the subject of my next special mention entry.

There is no archetypal goddess of the moon or night with the same enduring resonance as that of Gaea as earth mother. The strongest contenders are similarly those of classical mythology – Selene and Artemis (or Diana) as moon goddess or Nyx as goddess of the night. Once again, goddesses of moon, night or stars are prolific enough for their own top ten list.

 

RATING:

A-TIER (TOP TIER)

 

 

Queen Titania as she appears in a character in the Gems of War video game (fair use)

 

 

(7) FAIRY QUEEN (QUEEN MAB & TITANIA)

 

“In folklore and literature, the Fairy Queen or Queen of the Fairies is a female ruler of the fairies, sometimes but not always paired with a king. Depending on the work, she may be named or unnamed; Titania and Mab are two frequently used names. Numerous characters, goddesses or folkloric spirits worldwide have been labelled as Fairy Queens.”

There’s the fairy queen figures of the Tuatha De Danann and Daoine Sidhe of Irish mythology, including Oonagh, Una or Nuala as the wife of Finvarra or Fionnbharr, the fairy king of western Ireland.

There’s Morgan le Fey of Arthurian legend, who “ruled the supernatural island of Avalon and was sometimes depicted as a fairy queen” (or one of nine such queens).

There are the fairy queens of ballads – the fairy queen as antagonist (paying a tithe to Hell) in the ballad of Tam Lin and the more benevolent one in Thomas the Rhymer (as his lover who gave him prophetic abilities).

And then there are the fairy queens in literature, such as Gloriana, daughter of King Oberon and allegorical depiction of Queen Elizabeth, as “the titular character of the allegorical epic poem The Faerie Queene by Edmund Spenser. However, the most prominent fairy queens of literature are those of Shakespeare, who “referred multiple times to the figure of a fairy queen”.

“The Merry Wives of Windsor makes reference to the concept. In A Midsummer Night’s Dream, Titania is the queen of the fairies and wife of King Oberon. Her name is derived from Ovid as an epithet of the Roman goddess Diana. In Romeo and Juliet, the character of Queen Mab does not appear but is described; she is the fairies’ midwife, who rides in a tiny chariot and brings dreams to humans.”

 

RATING:

A-TIER (TOP TIER)

 

 

Collage of Wonder Woman, arguably the most famous Amazon, in cover art by Ed Benes, and Valkryie from Marvel Comics in cover art by Art Adams (fair use)

 

(8) AMAZONS & VALKYRIES

 

What would the girls of mythology be without special mention for the warrior women of mythology – of which Amazons and Valkyries are easily the most prominent, although the latter are distinguished by their supernatural nature.

The Amazons of classical mythology were human women – “female warriors and hunters, known for their physical agility, strength, archery, riding skills, and the arts of combat” – and somewhat exclusive about it, an exclusive gynocentric society closed to men except for brief liaisons to reproduce daughters, with sons being returned to their fathers.

The Amazons had quite the prolific popularity, with notable individual Amazons involved with some of the greatest heroes and heroic events in classical mythology – and that’s even before we get to their ongoing popularity in adaptations in popular culture, foremost among them Wonder Woman and her fellow Amazons in DC Comics.

Of course, most adaptations omit the “folk etymology” of Amazon as breastless, attributed to the Amazons cutting or burning off their right breast to aid with archery. In this, however, adaptations may be truer to the original mythology, as there is “no indication of such a practice in ancient works of art” and the origin of the name Amazon may be less clear.

As for the Amazons themselves, they are usually identified as originating from the female warriors of the horse cultures contemporary to the ancient Greeks, particularly Scythians. And in a case of art imitating life and back again, the name of the Amazon River originated from reports of native female warriors by Francisco de Orellana.

As noted, the Valkyries were warrior women to rival the Amazons but were supernatural in nature – Norse mythology’s version of battle angels, or more precisely, psychopomps carrying “the souls of worthy warriors who died in battle to Valhalla, where they are destined to fight alongside Odin when Ragnarok happens”. Hence their name, derived from choosers of the slain.

Again, the Valkyries were prolific in Norse mythology, both collectively and with notable individual Valkyries – as well as adaptations in popular culture, including opera or music with Wagner’s Ride of the Valkyries, as well as the name of the Marvel Comics character.

 

RATING:

A-TIER (TOP TIER)

 

Everyone’s favorite (and the most famous) mermaid, Hans Christian Andersen’s Little Mermaid, adapted ar Ariel in the Disney animated film – depicted here in my favorite mermaid art of all time by J. Scott Campbell for his Fairtale Fantasies calender (with a ship in the background as a nod to the source as well as wider mermaid folklore) (fair use)

 

 

(9) MERMAIDS & SIRENS

 

“I have heard the mermaids singing, each to each.”

Mermaids and sirens – sea or water nymphs, tritons, selkies, merrows, nixies, Lorelei or Melusine, Rhinemaidens, rusalkas, and undines.

Perhaps the most famous female legendary creatures, although there are male counterparts in some legends or folklore – to quote Zoolander, “Mer-MAN! Mer-MAN!” – but those male counterparts have nowhere near the same prominence as mermaids or sirens.

As such, they need little introduction – or perhaps they do, given their prolific variety in mythology and their various adaptations in artistic and popular culture or imagination. Mermaids and similar water spirits may not be quite as universal in myth and folklore as, say, dragons, but they are widely prevalent. Even limiting mermaids or sirens to the common denominator of an upper human body with the tail of a fish, there is still such a variety that TV Tropes not only has their trope page Our Mermaids are Different, but also an analysis page for that trope as to all the permutations of how mermaids function – in appearance, locomotion, respiration and metabolism, diet – as well as how they might function on land (if they do) or whether they are good or evil.

For that matter, even the original sirens in the Odyssey were bird-like but have subsequently been adapted as and conflated with the conventional half-fishlike mermaids, the latter frequently sharing the traits of the former as seductive singers “associated with perilous events such as storms, shipwrecks, and drownings”.

Mermaids and sirens could well the subject of their own top ten list, not only for individual mermaids or for similar water spirits, but also for their various elements, tropes and types.

 

RATING:

A-TIER (TOP TIER)

 

It’s arguable whether she’s a succubus as such but she’s certainly an archetypal devil girl – Purgatori in cover art by Michael Turner for issue 1 of Dynamite Entertainment’s Chaos (fair use)

 

 

(10) WITCHES & SUCCUBI

 

“I got a black magic woman

Got me so blind I can’t see

That she’s a black magic woman

She’s trying to make a devil out of me”

 

Wouldst thou like to live deliciously?

Just a girl and her goat. Or in the case of European witch folklore, of many girls and their great goat

Witchcraft – traditionally defined as the malevolent “use of magic or supernatural powers to harm others” – is something that seems well-nigh universal in mythologies or beliefs throughout the world. Hence, witches as users of such magic are equally as prolific in mythology or folklore – usually female but not exclusively so, even at the height of early modern European witchcraft hunts or trials.

Indeed witches are so prolific in mythology and popular culture that TV Tropes has their usual Our Monsters are Different trope for their variety, of course under the title Our Witches are Different.

The predominant image of witches is of course what TV Tropes dubs the Witch Classic, originating in European witch folklore – “traditionally witchy attire”, flying on broomsticks, animal familiars, and so on – and largely overlapping with that of the Wicked Witch, although also adapted in popular culture or imagination as cute or hot witches.

Witches overlap with succubi, or similar “hot as hell” female figures such as the archetypal devil girls of popular culture or imagination.

Witches and succubi could well the subject of their own top ten list, not only for individual witches or succubi, but also for their various elements, tropes and types.

 

RATING:

A-TIER (TOP TIER)

 

 

Lilith depicted as the mother of Vampirella in comics

 

 

(11) LILITH

 

“A figure associated with Jewish and early Christian folklore” – “said to be the very incarnation of Lust” and hence easily earns special mention in my girls of mythology.

Her origin is multiple choice, with the most popular choice being that she was the first wife of Adam before Eve but refused to be subservient and essentially defected to Hell or at least from Paradise, becoming a demoness and mother of demons – which you have to admit was something of a glamorous glow up, albeit infernal, compared to the more mundane Eve.

The reason her origin is multiple choice is because none of it is in the Bible, except that Genesis literally repeats the story of creation (and hence allows for various interpretations including that of Lilith in the “first” creation) and there was a singular reference to a “lilith” or “lilit” with other animals in Isaiah, usually interpreted as a reference to owls.

However, that hasn’t stopped folklore – and subsequent popular culture – picking up Lilith as Biblical bad girl, dark counterpart of Eve, and the original sinner before original sin. Indeed, some versions even conflated or identified her with the Serpent of Eden.

 

RATING:

A-TIER (TOP TIER)

 

 

Pandora – 1896 painting by John William Waterhouse

 

 

(12) PANDORA

 

The Eve of classical mythology, with original sin in a box – almost as famous as her counterpart in Biblical mythology, with the myth of each influencing or being conflated with the other.

Similarly to Eve, Pandora was the first human woman – created by the gods, with each god and goddess contributing a gift to make her irresistible, such as beauty and grace from Aphrodite. Indeed, the etymology of her name is from gift.

However, beware of Greek gods bringing gifts – “The Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world, according to which, Pandora opened a jar (pithos; commonly referred to as “Pandora’s box”), releasing all the evils of humanity.”. Needless to say, Pandora’s box has lent itself to endless adolescent humor based on the slang meaning of box.

It’s not just adolescent humor – “Pandora’s story went on to influence both Jewish and Christian theology and so perpetuated her bad reputation into the Renaissance. Later poets, dramatists, painters and sculptors made her their subject.”

“An additional element is the Jar’s final occupant” — Hope, in some versions a salve to humanity but in others adding insult to injury through false comfort.

 

RATING:

A-TIER (TOP TIER)

 

 

Grendel’s mother in the classic scene from the 2007 Beowulf animated film – obviously replicating the appearance of her voice actress Angeline Jolie

 

 

(13) GRENDEL’S MOTHER

 

Yes – one of three antagonists in Beowulf (with the other two being Grendel himself and the dragon towards the end of the poem), Grendel’s mother earns her special mention from her appearance voiced by Angelina Jolie in the 2007 Beowulf film (and depicted with the visage of Jolie, although her body model was apparently swimsuit calendar model Rachel Bernstein).

In other words – phwoah! Golden skin – and she even gives herself high heels! The Order of the Stick webcomic even has its Oracle wisecrack a gag about getting a date with Grendel’s hot mom.

Apparently, such a golden glamorous appearance may not be too far from the legend – that’s literally glamorous by the way, since the film her attractive appearance seems to be a glamor she casts over her true form. While usually depicted as monstrous in form – to match Grendel – there may be alternative interpretations for something more glamorous, such as a Valkyrie or divine female figure.

 

RATING:

A-TIER (TOP TIER)

 

 

Lady Godiva painting by John Collier, 1897

 

 

(14) LADY GODIVA

 

The most famous nudist of legendary history.

And yes – that’s legendary history, as Lady Godiva was an “Anglo-Saxon noblewoman who is relatively well documented as the wife of Leofric, Earl of Mercia, and a patron of various churches and monasteries.”

However, it’s her legend that eclipses her history. “She is mainly remembered for a legend dating back to at least the 13th century, in which she rode naked – covered only by her long hair – through the streets of Coventry to gain a remission of the oppressive taxation that her husband, Leofric, imposed on his tenants.”

Phwoah! And I mean phwoah – Lady Godiva has some of the hottest art or sculpture of any mythological or legendary female character.

Her legend has another layer with the addition of Peeping Tom – “a man named Thomas watched her ride and was struck blind or dead.”

I have a soft spot for interpretations of the legend that see elements of fertility ritual, perhaps even a pagan goddess, in it. Less so for interpretations that propose degrees of nudity, such as that she rode in a shift or something similar – I prefer my Lady Godiva gloriously nude!

 

RATING:

A-TIER (TOP TIER)

 

 

Maid Marian on the cover of the novella of that name by Thomas Love Peacock, as published by Ombre Bookshelf Publishing on Amazon in 2023

 

 

(15) MAID MARIAN

 

Now seen as an integral part of Robin Hood’s legendarium – “Maid Marian is the heroine of the Robin Hood legend in English folklore” – she does not feature in earlier medieval versions but only pops up later, much to the improvement of the legend in my eyes, making those Merry Men much less of a sausage party.

Even better, there definitely seem to be elements of fertility ritual or pagan goddess figures to her – “She appears to have been a character in May Games festivities… and is sometimes associated with the Queen or Lady of May or May Day”. On the other hand, she has also been suggested as “originally a personification of the Virgin Mary – who featured much more prominently in medieval legends of Robin Hood.

I found this reference particularly intriguing, and frankly one which has forever reshaped my mental images of the Robin Hood legend – “By the mid 16th century the May Games had become increasingly bawdy, and in one play Robin even gives Marian to Friar Tuck as a concubine”.

 

RATING:

A-TIER (TOP TIER)

 

 

Once again I use Chel as my go-to Meso-American pinup, here standing in for Xochiquetzal

 

 

(16) XOCHIQUETZAL

 

The Aztec Aphrodite!

No, seriously, the Aztec goddess “associated with fertility, beauty, and love, serving as a protector of young mothers and a patroness of pregnancy, childbirth, and the crafts practiced by women such as weaving and embroidery” – and hence my choice to represent her pantheon among my girls of mythology.

Her name is poetic too – a compound of flower and feather.

“Unlike several other figures in the complex of Aztec female earth deities connected with agricultural and sexual fecundity, Xochiquetzal is always depicted as an alluring and youthful woman, richly attired and symbolically associated with vegetation and in particular flowers. By connotation, Xochiquetzal is also representative of human desire, pleasure, and excess”.

Refreshingly for the Aztec pantheon, her worship was characterized by wearing animal and flower masks at the festival held in her honor every eight years. She was also apparently honored by “flower offerings, drinking and fornications”. Phew! I thought there was going to be the usual human sacrifice of the Aztec pantheon and…oh no! Yeah, there’s the usual human sacrifice, albeit on much smaller scale than that for other Aztec deities. “A young woman was chosen to be a ixiptlatli ” – a name of the goddess in her representation as maiden – “which impersonated the goddess and was decapitated, flayed and her skin was worn by a selected man”.

Sigh – I prefer to regard that as not canon.

 

RATING:

X-TIER (WILD TIER)

 

 

Cover by Rafael Grampa for issue 2 Dominque Laveau Voodoo Child by DC Vertigo in 2012 – I used Dominique from the cover of issue 1 to represent voodoo goddess Erzulie in my top ten but she’s an even better stand-in for Marie Laveau to whom she presumably has some familial connection

 

 

(17) MARIE LAVEAU

 

“Marie (Marie) La-Voodoo-Veau

She’ll put a spell on you

Marie (Marie) La-Voodoo-Veau

She’s the witch queen, ah

Of New Orleans, of New Orleans”

 

A historical figure who transcended history to become legend – “Marie Catherine Laveau (September 10, 1801 – June 15, 1881) was a Louisiana Creole practitioner of voodoo…renowned in New Orleans”.

Like any legendary or mythic figure, death was only a temporary inconvenience to her legend, which elevated her to the status of a pseudo-loa or demi-god – “oral tradition states that she was seen by some people in town after her supposed demise…tourists continue to visit her tomb following a decades-old belief in which those seeking a wish from Laveau would draw three Xs on the surface, turn around three times, knock on the tomb, and then call out their wish”.

And her legend has persisted with depictions in art and popular culture, the latter including more than one song, such as The Witch Queen of New Orleans by Redbone that I quoted at the outset.

 

RATING:

X-TIER (WILD TIER)

 

Monument to Maria Lionza in Caracas – the original statue was by Alejandro Colina but a replica was made of it. That’s a tapir she’s riding. Photograph by pacop, Wikipedia “Maria Lionza” licensed under https://creativecommons.org/licenses/by-sa/3.0/deed.en

 

 

(18) MARIA LIONZA

 

Yeah – she would have earned special mention on her statue alone, although her status as a love deity scores bonus points.

“María Lionza is the central figure in one of the most widespread new religious movements in Venezuela. The cult of María Lionza began in the 20th century as a blend of African, indigenous, and Catholic beliefs. She is revered as a goddess of nature, love, peace, and harmony. She has followers throughout Venezuelan society, from small rural villages to Caracas, where a monumental statue stands in her honor. The Cerro Maria Lionza Natural Monument (also known as Sorte mountain), where an important pilgrimage takes place every October, was renamed in her honour.”

 

RATING:

X-TIER (WILD TIER)

 

 

I thought Harley Quinn in her harlequin costume was a good stand-in for the Discordian goddess – cover art by R1C0 for the Harley Quinn comic (fair use)

 

 

(19) ERIS DISCORDIA

 

Hail Eris!

Or how I found Goddess and what I did to Her when I found Her.

 

I’d probably have included Eris – or Discordia as she is in her Roman adaptation from Greek mythology – merely from her role in classical mythology.

That might seem strange for a minor divine personification of chaos, strife and discord – but for a minor deity, she sure plays a major role for classical mythology’s greatest epic, initiating the quarrel between the three goddesses “which led to the Judgement of Paris and ultimately the Trojan War”.

In the Iliad, she “personifies strife, particularly the strife associated with war” – although she doesn’t get down and dirty like other deities participating in active combat or taking sides, but instead is “the rouser of armies, urging both armies to fight each other”.

However, it is as the supreme goddess of Discordianism, the religion invented as an “absurdist joke” (or is that the other way around?), that she wins special mention here.

Also, she is one of the select deities of classical mythology that has lent her name to a descriptive term, like Aphrodite to aphrodisiac – “in philosophy and rhetoric, eristic…refers to an argument that aims to successfully dispute another’s argument, rather than searching for truth”.

 

RATING:

X-TIER (WILD TIER)

Photo of Marilyn Monroe while filming The Seven Year Itch on the streets of New York. She apparently stopped at some point during the shooting of the famous “skirt scene” and posed for the reporters and photographers who were covering the film shoot. Photograph taken by Sam Shaw and published by Corpus Christi Caller-Times-photo from Associated Press – Wikipedia “WhiteMarilyn Monroe (public domain)

(20) L.A. WOMAN

 

“Are you a lucky little lady in the city of light

Or just another lost angel?”

 

The L.A. Woman to my Mr Mojo Risin’ – here it is, the divine female figure for my wildest special mention where I adapt my own personal Morrison-esque mythology, as I did for Mr Mojo Risin’ in my heroes of mythology.

Just as Mr Mojo Risin’, that iconic incantation by Jim Morrison in the bridge of The Doors single L.A. Woman, encapsulates much of the essence of the mythic hero, so too the titular female figure encapsulates much of the essence of the divine female figure, particularly in the archetypal Meeting with the Goddess – and perhaps Woman as the Temptress – in the hero’s journey.

And also just like Mr Mojo Risin’, L.A. Woman embodies my usual kinky or kinkier entry as final twentieth special mention – my mythology is a s€xual mythology, Mr Mojo Risin’ looking for his L.A. Woman, as is evident in the rhythm of the bridge from the song.

 

RATING:

X-TIER (WILD TIER)

 

 

Top Tens – Heroes & Villains: Top 10 Villains of Mythology (Special Mention: Complete Rankings)

 

The villainous bottom part of Raphael’s 1506 painting St George and the Dragon, featuring the dragon of course – boo!

 

 

TOP 10 VILLAINS OF MYTHOLOGY (SPECIAL MENTION)

 

Few things are as fundamental to mythology as heroes, but what often distinguishes mythic heroes is the depravity and destructive power of their antagonists, the villains of mythology.

I’ve counted down my Top 10 Villains of Mythology but there’s more than enough mythic villains and villainy for my usual twenty special mentions per top ten, given all the various villains of all the various mythologies.

Just a reminder of my criteria of villainy from my Top 10 Villains of Mythology – firstly, there’s the scale of how villainous they are in their moral character or ethos, and secondly, there’s the scale of how powerful they are, ranging up to villains capable of damning or destroying the world.

Finally, iconic status – and above all my idiosyncratic preference – tends to trump all, although of course iconic status is usually gained from other criteria in the first place, with the most evil and destructive villains being most iconic in popular culture or imagination. However, iconic status is qualified by my greater familiarity with European or Western mythologies, which might overshadow iconic status within non-Western mythologies.

 

 

The classic chthonic god Hades depicted as villain in Disney’s 1997 Hercules film – character profile image in the Disney fan wiki

 

 

(1) CHTHONIC DEITIES

 

Chthonic deities are underworld deities – “gods or spirits who inhabited the underworld or existed in or under the earth, and were typically associated with death or fertility” (usually more the former than the latter). I mean, they were going to get special mention just based on the word chthonic alone, one of my favorite words.

It is somewhat unfair to rank chthonic deities as villains in mythology – and as my top special mention at that.

For one thing, while some gods are clearly more chthonic than others, “virtually any god could be considered chthonic to emphasize different aspects of the god” – Demeter and Hermes are classic examples, but even Zeus was referenced with the epithet at times.

For another, with those gods that were clearly more chthonic such as Hades, just because they were associated with death or the underworld did not make them evil or villainous as such. They could equally be neutral or even benevolent.

However, even when such deities are neutral or benevolent, there is just too powerful a tendency to default to depictions of them as adversarial or antagonistic – as with Hades himself, all too often cast as Olympian villain in popular culture. That’s just how the bones roll when your iconic association is with death or the underworld.

And for all the chthonic or underworld deities that are neutral or even benevolent, there’s others that are indeed chaotic, destructive or outright evil. After all, the Devil himself is a chthonic deity…

 

 

RATING: 5 STARS*****

S-TIER (DEVIL TIER)

 

 

Detail of a 16th-century painting The Last Judgement by Jacob de Backer in the National Museum in Warsaw in WIkipedia “Devil” (public domain image)

 

 

(2) DEMONS & DEVILS

 

Demons and devils – even archdemons, daemons, fallen angels or legions of hell, fiends, imps, incubi or succubi.

Demons and devils came very close to their own special mention entry for my Top 10 Mythologies, given how pervasive demons or demonic beings are in myth and folklore. Ultimately however I deferred that special mention entry to here as I was not prepared to tempt fate from the forces of hell if I ranked them anywhere else. Also, demons and devils in popular culture or imagination have largely been assimilated into those of Biblical mythology, albeit that in turn took many of its cues from Middle Eastern mythology.

Demons or devils tend to be depicted as chthonic beings but also as more villainous than the other chthonic or underworld beings of mythology in general, albeit with substantial overlap between them. While chthonic deities can be depicted as neutral or even benevolent, there is usually no such ambiguity for demons or devils – chaotic, destructive or evil to the core. Bad to the bone as it were, although there is occasionally sympathy for the devil.

Indeed, they tend to be the benchmark for evil beings, such that demonic is an adjective for evil, literally or metaphorically (or metaphysically). The wider or “most generic definition” of demon would be “any evil or injurious spirit or supernatural being” – which could be very wide indeed, including things such as vampires or even dragons.

A good or noble demon is something of an oxymoron – even relying on one to not lie or cheat on a deal is fraught with peril. At best, a demon might be depicted as capable of redemption, in which case it becomes something else or is no longer a demon, but almost universally they are depicted as irredeemably evil in nature. Even when they purport to do something good, it turns out to be for the greater evil.

The archetypes of demons or devils – essentially synonymous, albeit occasionally distinguished in such things as Dungeons and Dragons where demons are chaotic evil and devils are lawful evil – are those from the Bible or Biblical mythology. The latter can get convoluted, on occasion distinguishing demons native to Hell or other eldritch beings as opposed to damned souls or fallen angels from Heaven, although they all tend to be conflated under the label of demon or devil. Also, as noted before, the demons and devils of the Bible or Biblical mythology in turn are influence by those of Middle Eastern mythologies, notably Mesopotamian and Persian.

However, there are similar beings or eldritch abominations in other mythologies that are translated as demons or devils – Buddhist and Shinto mythology are particularly notable in this respect. The televised version of Su Wukong or Monkey is forever etched into my mind with his declaration of demonic opponents – “Ah, DE-MON!”.

One reason that they are so pervasive in mythology or folklore is that they often stand in for the chaotic or destructive forces of nature – or humanity. There is a large overlap between demons or devils and other supernatural beings – with witches, fairies, dragons, ghosts and vampires perhaps as foremost for similar elements, tropes or types.

Devils are perhaps at their worst doing their deals (or Faustian pacts) for souls, while demons are at their worst corrupting or possessing good or innocent beings – demonic possession is arguably the most villainous weapon in their arsenal and comes in various forms, such that it could be the subject of its own top ten, particularly as it extends to animals or objects other than humans, ending up much like fairies or ghosts with various demon or demonic animals or objects.

For that matter, demons or devils in myth or folklore could well be the subject of their own top ten list, whether for named individuals or broader classifications, including their various elements, tropes and types – not to mention the elements, tropes and types of those most important human interaction with them, demon-slayers or exorcists.

 

RATING: 5 STARS*****

S-TIER (DEVIL TIER)

 

 

Collage of Death (left) and The Devil (right) from the most iconic modern Tarot deck, the Rider-Waite Tarot deck designed by A.E. Waite and Illustrated by Pamela Colman-Smith (first published by William Rider & Son in 1909, hence the name) – public domain image

 

 

(3) TAROT – DEATH & THE DEVIL

 

The Tarot may have its mystique and even its mythos, but does it have villains?

O yes – hence this special mention, drawn from the archetypal characters of individual cards, particularly those of the more iconic Major Arcana or “trumps” of the Tarot.

But are there enough ‘villainous’ cards of the Tarot for their own top ten?

Well, yes and no.

Yes, in that all or almost all cards of the Tarot have their dark inversions or negative connotations and are therefore capable of being villainous cards in that respect. Setting that aside, twelve cards of the Major Arcana – from the Hermit as ninth card through to Judgement as the twentieth card – are ‘underworld’ cards, depicting figures of the mythic narrative of the Fool’s descent into the underworld or hero’s journey, and are hence potentially ‘villainous’ cards.

And no, because when you come down to it, there are only three unequivocally ‘villainous’ cards that are also the infamous trinity of cards one flinches at in readings as ‘bad’ – Death, the Devil, and the Tower Struck by Lightning.

Unequivocally ‘villainous’ that is, in the sense that they are not also at the same time among my heroes or girls of the Tarot – only as ‘villains’, even if they can have positive interpretations. Aptly enough for a card midway through the Tarot, the Death card has interpretations of a new beginning after an end, rebirth or transformation – famously in that episode of The Simpsons with Lisa’s future foretold by a Tarot reading, although it added its own ominous card of The Happy Squirrel.

Of this trinity, I rank Death and the Devil in this special mention, given that the Tower Struck by Lightning does not feature a distinctive figure as such but instead evokes an impersonal force of destruction. Death of course features the personification of death, while the Devil is the literal personification of evil. The visual design of the latter card in the Rider Waite Tarot deck sees the latter and raises it even higher in evil stakes, as a dark inversion of the card of The Lovers, including the two figures of the Lovers themselves, now demonic figures chained to the Devil’s altar – and of the backdrop of Hell now substituted for the Garden of Eden.

 

RATING: 5 STARS*****

S-TIER (DEVIL TIER)

 

 

Aww – they’re adorable! Behemoth and Leviathan, watercolor by William Blake from his Illustrations of the Book of Job (1826)

 

 

(4) LEVIATHAN & BEHEMOTH

 

And now it’s time for a series of special mention entries consisting of matched pairs of mythological villains, commencing with the most primeval Biblical beasts of all, the ur-beasts, arguably greater than even the most apocalyptic beasts – Behemoth and Leviathan.

They appear in most detail in the Book of Job, effectively as a matching set. The central plot of the Book of Job essentially has God and Satan playing cosmic poker, using Job and his family as chips. Behemoth and Leviathan appear almost as a tangent, when God is telling off Job for questioning God’s questionable poker game. As usual, God appeals to His own greatness, which He demonstrates by stating that even primal chaos monsters such as Behemoth and Leviathan are basically just His pets.

God expounds on Behemoth in Chapter 40 in the Book of Job as some primal beast of the land – “Look at Behemoth, which I made just as I made you; it eats grass like an ox. Its strength is in its loins and its power is in the muscles of its belly”. Although Behemoth has typically been identified as an extremely large or powerful mythic beast, it has also been associated with more mundane animals – usually a hippopotamus, but also an elephant, rhinoceros or buffalo (while creationists have seen it and Leviathan as dinosaurs).

However, poor Behemoth has been overshadowed by his aquatic and serpentine counterpart, Leviathan, the primal beast of the sea or water. Leviathan’s most distinctive appearance is in the chapter following that for Behemoth, Chapter 41 of the Book of Job, in which God goes fishing. Unlike Behemoth, Leviathan is also mentioned elsewhere in the Bible, typically as a poetic image or reference, and is identified in the Book of Isaiah as a serpent or dragon of the sea. Accordingly, Leviathan has typically been identified as an aquatic beast, following in the Near East mythic traditions of sea serpents or monsters, with the Babylonian Tiamat coming to mind (or the Nordic Midgard Serpent for that matter). Or maybe it was just a crocodile. After all, those things are scary enough…

Both have entered popular parlance but again Leviathan has overshadowed Behemoth – while both have been adapted as words signifying “something overwhelmingly huge, powerful, or monstrous”, leviathan tends to have the more common usage, boosted among other things by its use by Hobbes for the title of his book on political philosophy (essentially signifying the state’s monopoly on violence).

 

 

RATING;

A-TIER (TOP TIER)

 

 

Collage of “Offering to Molech” in “Bible Pictures and What They Teach Us” by Charles Foster in 1897 (left) and the 1909 painting “The Worship of Mammon” by Evelyn De Morgan (right) – in fairness, of the two here, Mammon looks the better deal as he’s giving something to his worshipper rather than the other way round – and a child at that – for Moloch

 

 

 

(5) MOLOCH & MAMMON

 

Yes – it’s another matched pair of villains from Biblical mythology but I just can’t resist them as an alliterative matching pair, one each from Old Testament and New Testament.

With variant spellings, Moloch “is a word that appears in the Old Testament several times, primarily in the Book of Leviticus”, usually to connote and condemn practices “which are heavily implied to include child sacrifice”.

Traditionally, Moloch has been understood to mean a Canaanite god to whom such sacrifices were made, although it has been argued to mean the sacrifice itself.

Whatever the case, “since the medieval period, Moloch has often been portrayed as a bull-headed idol with outstretched hands over a fire; this depiction takes the brief mentions of Moloch in the Bible and combines them with various sources, including ancient accounts of Carthaginian child sacrifice and the legend of the Minotaur”.

That’s for his visual iconography but Moloch has an enduring resonance as a metaphor for a monstrous force feeding on sacrifice for its own sake, particularly of children or innocents – imagining the future as a boot stamping on a child’s face forever, as it were.

Where Moloch has enduring resonance as a metaphor for sacrificial violence, his alliterative New Testament counterpart Mammon does so as metaphor for money or greed. The word is used by Jesus in two Gospels (Matthew and Luke) where he said “you cannot serve both God and Mammon”.

While Mammon has generally been understood to originate from a term for money, that term has been proposed to originate from “a Syrian deity, god of riches”, although no trace of such a Syrian deity exists. In any event, Mammon was soon personified as a demon of greed and he’s had quite the career in literary or popular culture ever since – most memorably for me in Milton’s Paradise Lost, where even as an angel in heaven before his fall, he was more interested in heaven’s pavements of gold.

 

RATING:

A-TIER (TOP TIER)

 

 

Collage of Yorkshire pigs at a wallow in mud at the Poplar Spring Animal Sanctuary in Poolesville, Maryland (evoking the Gadarene swine in the story of Legion) as photographed by Mark Peters and licensed for Wikipedia “Pig” under https://creativecommons.org/licenses/by/2.0/deed.en and Artemisia herb-alba (a plant believed to be the original wormwood as source for the bitter Biblical metaphor) photographed by Floratrek and licensed for Wikipedia “Wormwood (Bible)” under  https://creativecommons.org/licenses/by-sa/3.0/deed.en

 

 

(6) LEGION & WORMWOOD

 

Yes – it’s my third matched pair of villains from Biblical mythology but in this case, they are both from the New Testament, as Behemoth and Leviathan are both from the Old Testament.

Legion and Wormwood stand out among the demonic beings referenced in the New Testament because of their sheer evocative resonance.

Legion is the more chilling of the two, from the declaration of their identity “I am Legion, for we are many” – connoting “a large collection of demons that share a single mind and will” in the gospel incident (in the Gospels of Mark, Matthew, and Luke) variously described as the Exorcism of the Gerasene demoniac or the Miracle of the Gadarene Swine. That is, where Jesus exorcises a demonic horde from a man into a herd of swine, which then run down a hill to a lake and drown themselves.

One can’t help but feel the original story may not have been so much literal but a parable against the Romans controlling Judaea, given the demonic self-description evoking a Roman legion and that they are driven into pigs, the archetypal unclean animal of Jewish ritual – and also evocative of the boar emblem of the Tenth Legion that was centrally involved in the first Roman-Jewish War.

Wormwood – or more precisely Star Wormwood – on the other hand has his, her or its singular appearance in the Book of Apocalypse, as a prophesied star or angel that falls from heaven and makes a third of fresh water “bitter” or deadly to people.

 

RATING:

A-TIER (TOP TIER)

 

 

 

 

 

 

 

Beelzebub’s appearance from the Dictionnaire Infernal in 1818 and Baphomet as depicted by Eliphas Levi in 1856, both public domain images

 

 

(7) BEELZEBUB & BAPHOMET

 

Yes – it’s my fourth matched pair of villains from Biblical mythology and second alliterative one (after Moloch and Mammon).

Or maybe not, since while Beelzebub is canonical to the Bible (in both Testaments), Baphomet is not – although ironically Baphomet has a stronger influence on the visual iconography of the Christian Devil as goat or so-called Sabbath goat.

Similarly to Moloch, Beelzebub is derived from a Canaanite (or Philistine) god – Baal, although that name is an honorific title meaning “lord” and hence was somewhat generic for gods, clarified by epithets hence the latter part of Beelzebub’s name, apparently from Ba’al Zabub or something similar. I say something similar because again like Moloch, there are variant names or titles – with the most famous as Lord of the Flies, the titular metaphor for human savagery in the novel by William Golding. My love of that novel is a major reason for his inclusion as special mention, although that in turn reflects that sheer evocative resonance which underlies other special mention entries.

Beelzebub pops up as Baal in the Old Testament but is even more notably name-dropped in the New Testament by none other than Jesus himself – which has seen him placed high in Hell’s hierarchy by Christian folklore, even as high as second in command as in Paradise Lost.

Baphomet has no such Biblical pedigree and the first reference to him by name only emerges as the demonic idol of which the Knights Templar were accused of worshipping in their fourteenth century trials for heresy. His subsequent infamy belies such an obscure or esoteric origin, which might otherwise have been relegated to a historical footnote but for him being reimagined by nineteenth century occultists – it is that infamy that sees him ranked with Beelzebub in this special mention, apart from my usual predilection for alliteration.

“The modern popular image of Baphomet was established by Eliphas Levi in…1856” – that of the “Sabbatic Goat” as an unsavory winged human-goat hybrid that has been the iconic image of the Devil in popular culture ever since.

 

RATING:

A-TIER (TOP TIER)

 

 

Odysseus in front of Scylla and Charybis, painting by Henry Fuseli, 1794-1796. Pretty sure that’s Scylla top right and Charybdis top left

 

 

(8) SCYLLA & CHARYBDIS

 

Yes – it’s another matched pair of villains, but from classical mythology and a pair that was canonically matched in their mythology.

Scylla and Charybdis were two sea monsters that Odysseus had to sail between in Homer’s Odyssey.

“Greek mythology sited them on opposite sides of the Strait of Messina between Sicily and Calabria, on the Italian mainland…They were regarded as maritime hazards located close enough to each other that they posed an inescapable threat to passing sailors; avoiding Charybdis meant passing too close to Scylla and vice versa.”

However, they weren’t equal hazards. Of the two, Charybdis was far more dangerous. Whereas Scylla would snatch up six sailors – one for each of her six ravenous heads – Charybdis would suck the whole ship down to the depths. Accordingly, you’d err on the side of Scylla.

And yes – you read that right when I said her. Scylla and Charybdis were female sea monsters. In the usual style of classical mythology, they were nymphs or demi-goddesses transformed into monsters by the gods. In some later versions, Scylla was adapted as a beautiful nymph transformed into her monstrous form. The reasons varied – as did the form, although it consistently involved six man-eating heads, which she would feed by snatching sailors from passing ships. In one version, the heads were those of dogs. Charybdis was somewhat more ambiguous in her origin and form, but the latter consistently involved her sucking or swallowing down water like a whirlpool or maelstrom.

Indeed, Charybdis was rationalized as an explanation for a coastal whirlpool, while Scylla was rationalized as a rock shoal, presumably with waves that could sweep sailors from a ship.

Between Scylla and Charybdis became a proverbial expression similar in meaning to between the devil and the deep blue sea, or similar expressions for a dilemma or choosing between evils. Indeed, I used to believe that the latter originated from the former, with Scylla as the man-eating devil and Charybdis swallowing you down into the deep blue sea. Sadly, the origin of the latter phrase is not clear but probably does not originate from the Odyssey.

 

RATING:

A-TIER (TOP TIER)

 

There’s a shortage of visual representations of Ahriman so I went with the next best thing – Chaos Space Marine Ahriman from 40K, depicted as character feature image in the fan wiki (left). And on the right, Asmodeus as depicted as the supreme devil in Dungeons and Dragons 1st edition Monster Manual. Looking suave…

 

 

(9) AHRIMAN & ASMODEUS

 

Yes – it’s another alliterative pairing of mythological villains.

Ahriman is drawn from the Persian mythology and religion of Zoroastrianism – “also known as Angra Mainyu…the deity of evil, darkness, and destruction in Zoroastrianism, acting as the primary adversary of the creator god, Ahura Mazda”, although ironically the latter seems more phonetically the origin of the name Ahriman.

Ahriman is essentially the devil of Zoroastrianism, although an entity that was more evenly matched with God in that dualistic religion. His resemblance to the devil is not coincidental – “representing chaos and falsehood, Ahriman is believed to have inspired later concepts of the devil and plays a central role in cosmic dualism”.

Asmodeus on the other hand is a demon originating in Biblical mythology, indeed in the Bible itself – albeit the apocryphal Book of Tobit. He rises to prominence above his apocryphal origin due to embodying the sin of lust in folklore and I’m always here for anyone embodying the sin of lust. That gave him a prominence and name recognition in popular culture, not least in Dungeons and Dragons or Pathfinder – indeed as the supreme ruler of Hell (or the Nine Hells) or effectively the Devil of Dungeons and Dragons in game lore.

 

RATING:

A-TIER (TOP TIER)

 

 

 

 

Collage of the first edition D & D Monster Manual art for Orcus (left) and Demogorgon (right), the latter the model for the figurine in Stranger Things. In my opinion, Demogorgon definitely won out between them in art – but both benefited from the more refined art throughout subsequent editions

 

 

(10) ORCUS & DEMOGORGON

 

Yes – it’s another of my matched pair of villains, originating in classical mythology or literature (kind of) but raised in profile and matched as a pair by their adaptation as demon lords in Dungeons and Dragons.

Demogorgon has achieved particular pop culture status through adaptation as an extra-dimensional antagonist in the Stranger Things TV series, especially in the first season when it was a singular antagonist, the Demogorgon – although people forget that within the narrative of the first season, the characters called it the Demogorgon based on its visual resemblance to a figurine of the Dungeons and Dragons demon lord.

“Orcus was a god of the underworld, punisher of broken oaths in Etruscan and Roman mythology. As with Hades, the name of the god was also used for the underworld itself”. Ultimately, he was conflated with the primary god of the underworld (Hades or Pluto).

TV Tropes has a trope for Orcus on his throne, where an antagonist is powerful to the point of potential victory or “the potential to wipe out the forces of good” but seemingly sits around doing nothing. It’s a surprisingly prolific trope.

Ironically for his higher profile, Demogorgon is less clear in origin as a deity or demon associated with the underworld. “Although often ascribed to Greek mythology, the name probably arises from an unknown copyist’s misreading of a commentary by a fourth-century scholar…The concept itself can be traced back to the original misread term demiurge”.

Interestingly, John Milton paired Orcus with Demogorgon in Paradise Lost (among Demogorgon’s other surprisingly prolific references in literature or poetry) but it’s their pairing as demon lords in Dungeons and Dragons that earns them their entry here as a matched pair – particularly that they were famously antagonistic to each other in the game lore.

 

 

RATING:

A-TIER (TOP TIER)

 

Chaos Monster and Sun God – a drawing of a Mesopotamian bas-relief, often associated with the battle of Marduk and Tiamat (but variously interpreted) – ‘Monuments of Nineveh, Second Series’ plate 5, London, J. Murray, 1853, ditor Austen Henry Layard , drawing by L. Gruner

 

 

(11) TIAMAT

 

Like my special mention for Orcus and Demogorgon, Tiamat is a mythological villain raised in profile by her adaptation in Dungeons and Dragons.

In fairness, Tiamat started with a higher – and more defined – profile in mythology than Orcus or Demogorgon. She was the primordial sea in Mesopotamian mythology – essentially that recurring mythic archetype of chaos monster.

And yes, I said she – Tiamat was very much a female figure, indeed a maternal one, as mother of monsters as well as the first deities and creation itself, albeit that last was not by giving birth but by her bodily dismemberment by the god Marduk.

“It was once thought that the myth of Tiamat was one of the earliest recorded versions of a Chaoskampf, a mythological motif that generally involves the battle between a culture hero and a chthonic or aquatic monster, serpent, or dragon.”

Tiamat was reborn as an arch-villain of Dungeons and Dragons – distinctively as a multi-headed dragon.

 

RATING:

A-TIER (TOP TIER)

 

 

Set as he appears in his standard design from the Smite 2 video game

 

 

(12) SET

 

And ass-headed Set brayed in the desert…

Set often strikes me as similar to Loki, except more loyal when in balance or harmony with the rest of the Egyptian pantheon, until he was transformed into their antagonist. For example, he had a positive role where he accompanied Ra on the solar barque to repel Apep or Apophis, the serpent of chaos who would otherwise be the foremost villain of Egyptian mythology but for Set’s infamy.

However, with a divine brief as the god of the desert – lord of the Red Land as opposed to Horus as Lord of the Black Land or fertile land of the Nile – it was perhaps inevitable that Set would assume an antagonistic role, again as opposed to Horus, infamously by killing the father of Horus and husband of Isis, Osiris.

That ass-headed reference might not be accurate – “in art, Set is usually depicted as an enigmatic creature referred to by Egyptologists as the Set animal, a beast not identified with any known animal, although it could be seen as resembling a Saluki, an aardvark, an African wild dog, a donkey, a jackal, a hyena, a pig, an antelope, a giraffe or a fennec fox”. Of course, I prefer the ass version.

Interestingly, it may not have been so much his role as god of the desert that cast him as villainous but his role as god of foreigners, with the foreign conquests of Egypt – “Set’s negative aspects were emphasized during this period. Set was the killer of Osiris, having hacked Osiris’ body into pieces and dispersed it so that he could not be resurrected. The Greeks would later associate Set with Typhon and Yahweh”(!) – “a monstrous and evil force of raging nature (being the three of them depicted as donkey-like creatures).”

 

“I’m going into town after Set

I am a cowboy in the boat of Ra

Look out Set, here I come Set

To get Set, to sunset Set

To unseat Set, to set down Set”

 

RATING:

A-TIER (TOP TIER)

 

 

 

Relief fragment of Mara in Gandhara style, found in Swat Valley – phorograph by Under the Bo in Wikipedia “Mara” under license https://creativecommons.org/licenses/by-sa/3.0/deed.en

 

 

(13) MARA

 

Although Mara has origins in Hindu mythology – “He is Yama’s fearsome persona and all beings associated with him, darkness and death, become forces of Mara – he takes his true shape as a “malicious force” in the Buddhist counterpart of the Temptation of Christ.

Indeed, I prefer the Buddhist version of the Temptation under the Bo Tree. The Temptation of Christ worked best in the more effective brief version of it in the Gospel of Mark but otherwise can come across as a dry rabbinical debate. In the Temptation of Buddha, Mara cuts to the chase with the more elemental forces of s€x and violence – something echoed in the version of the Temptation of Christ in the the novel by Nikos Kazantzakis.

“In the story of the Awakening of Prince Siddhartha, Mara appears as a powerful deva trying to seduce him with his celestial army and a vision of beautiful maidens…who, in various legends, are often said to be Mara’s daughters”.

His daughters are hot, though.

 

RATING:

A-TIER (TOP TIER)

 

 

An illustration of Grendel by John Skelton from the 1908 “Stories of Beowulf”. Not sure why he has a handbag though – perhaps it belongs to his mother

 

 

(14) GRENDEL

 

Beowulf’s famous monstrous antagonist.

Yes, he’s one of the three epic antagonists for Beowulf, but let’s face it – Grendel is his first antagonist, not only in narrative sequence but in significance. Grendel’s mother doesn’t even have a name, being literally identified through Grendel as her son, and the dragon is similarly not named. It’s hard to think of a more iconic duo of a hero and their antagonist than Beowulf and Grendel.

Also, let’s face it – it’s hard not to feel some sympathy for Grendel, even that he had some justice on his side. I mean, who hasn’t felt like this about their noisy neighbors at one time or another? It’s not like there was any residential zoning laws or that Grendel could make a noise complaint to the king.

The latter was particularly so as it was the king – King Hrothgar – who was the noisy neighbor, throwing wild drunken parties in his mead hall, Heorot. Of course, Grendel took his noise complaints too far, attacking the hall every night for years and killing its occupants, hence making it unusable.

As for Grendel’s monstrous nature, it remains a matter of argument as to what exactly he was. He is described as a descendant of the Biblical Cain, who like Lilith seems to have spent his time spawning monsters – with Grendel described as “a creature of darkness, exiled from happiness and accursed of God, the destroyer and devourer of our human kind” and a “shadow walker”. He is also referred to in the poem by words evoking the beings of Germanic mythology – that is, as a monster and giant, albeit his status as such is undermined by the absence of any clear description, apart from him being seemingly linked to water like other supernatural monsters.

Some even conjecture him to be a berserker or fierce warrior. Whatever the case, he met his match – and his death – with Beowulf.

 

 

RATING:

A-TIER (TOP TIER)

 

 

Arthur and the Questing Beast by Henry Justice Ford (1904) and Wodan’s Wild Hunt by Friedrich Wilhelm Heine (1885)

 

 

(15) QUESTING BEAST & WILD HUNT

 

I just can’t resist their evocative names, despite it being arguable whether they were actually villains. The Wild Hunt in particular seems more of a chaotic force.

Sadly, the questing beast is not so named because it was the subject of a quest but for the French word glatisant – hence its alternative name of the Beast Glatisant – related to or signifying barking or yelping, the noise the Beast made.

The Beast itself was a hybrid beast like a chimera – that is a single beast seemingly composed of different animal parts – albeit one often interpreted as a giraffe, from their medieval description as half camel and half leopard.

The Beast doesn’t feature in the main part of Arthurian legendary canon but pops up as cameo as it were, with the hunt for it as the subject of quests “futilely undertaken by King Pellinore and his family and finally achieved by Sir Palamedes and his companions”.

Of course, I also can’t resist matching the innuendo of questing beast with the adventurous bed. On that note, questing beast overlaps nicely with the innuendo of wild hunt.

“The Wild Hunt is a folklore motif occurring across various northern, western and eastern European societies, appearing in the religions of the Germans, Celts, and Slaves” – typically involving “a chase led by a mythological figure escorted by a ghostly or supernatural group of hunters engaged in pursuit. The leader of the hunt is often a named figure associated with Odin in Germanic legends but may variously be a historical or legendary figure like Theodoric the Great, the Danish king Valdemar Atterdag, the dragon slayer Sigurd, the psychopomp of Welsh mythology Gwyn ap Nudd, Biblical figures such as Herod, Cain, Gabriel, or the Devil, or an unidentified lost soul. The hunters are generally the souls of the dead or ghostly dogs, sometimes fairies, Valkyries or elves”.

That list of Wild Hunt leaders is not exhaustive either – indeed, it could be the subject of its own top ten.

“Seeing the Wild Hunt was thought to forebode some catastrophe such as war or plague, or at best the death of the one who witnessed it. People encountering the Hunt might also be abducted to the underworld or the fairy kingdom…According to scholar Susan Greenwood, the Wild Hunt “primarily concerns an initiation into the wild, untamed forces of nature in its dark and chthonic aspects.””

 

RATING:

A-TIER (TOP TIER)

 

Balor (left) and “the bloody maggot” Crom Cruach (right) as depicted by Simon “The Biz” Bisley in Pat Mills’ Slaine: The Horned God – which won them this special mention (fair use)

 

 

(16) BALOR & CROM CRUACH

 

Balor…of the evil eye!

Balor represents the Fomorians in my special mentions – “a group of malevolent supernatural beings”, essentially the equivalent of demons in Irish mythology. Balor was their leader and “considered the most formidable” of them – “a giant with a large eye that wreaks destruction when opened”.

He’s killed in battle by the god (or demi-god or divine hero) Lugh of the Tuatha De Danaan – and “has been interpreted as a personification of the scorching sun”.

Interestingly, Dungeons and Dragons adapted his name for their in-game demon version of the Balrog to avoid copyright.

Crom Cruach “was a pagan god of pre-Christian legend” – “he was propitiated with human sacrifice and his worship was ended by Saint Patrick”.

Apart from the adaption of Crom’s name as that of Conan’s deity, they earn special mention for their adaptation as eldritch abominations by Pat Mills as the antagonists of the titular hero in his Slaine comic.

 

RATING:

X-TIER (WILD TIER)

 

Baron Samedi as depicted in his standard design in the Smite video game from the fan wiki

 

 

(17) XIPE TOTEC & BARON SAMEDI

 

“It’s going to be a beautiful day, heh heh heh, yes sir, a b-e-a-u-tiful day” – Baron Samedi in the James Bond film “Live and Let Die”.

 

Just as I felt that these pantheons needed some representation in the special mentions for my top mythological heroes, so too I felt they needed representation among the special mentions for my top mythological villains.

Ironically, that was as strange as nominating heroes from the pantheons. Sure, the whole Aztec and voodoo pantheons might seem villainous to those not familiar with them, although it might be more accurate to describe them as anti-heroic or alien in their morality.

Still, these two deities seemed to me the best nominations as mythological villains for their respective pantheons.

I mean, who else among the Aztec pantheon than Xipe Totec, whose name means Our Lord the Flayed One?

Sure, he earned this special mention on the back (or is that skin?) of his adaptation in Grant Morrison’s The Invisibles – one whose modus operandi seemed to be wearing the skin of his victim’s faces on his own – but there’s his portfolio as a deity.

“In Aztec mythology, Xipe Totec…was a life-death-rebirth deity, god of agriculture, vegetation, the east, spring, goldsmiths, silversmiths, liberation, deadly warfare, the seasons, and the earth”.

All but the deadly warfare seems benevolent – except that he connected agricultural renewal with warfare and indeed was believed to be the god that invented war. He also had a strong association with disease – so potentially he had the means to be all Four Horsemen of the Apocalypse wrapped up as one.

Baron Samedi – which translates in English as Baron Saturday – is probably the most famous voodoo loa or deity. It’s a little unfair to rank him as villain rather than the antihero or trickster that he more accurately is.

Apart from his fame and his role as a god of death, what earns him villainous special mention is more by way of adaptation – the first is as the model for the cult of personality by Haitian dictator Papa Doc, and the second is his role as villainous henchman for James Bond in the film Live and Let Die, strikingly played by Geoffrey Holder and perhaps the only genuinely supernatural antagonist for Bond, if his post-credits appearance is anything to go by.

 

RATING:

X-TIER (WILD TIER)

 

 

Antlered skull image for the Wendigo from the trailer for the 2022 film – reflecting the contemporary trend towards depicting the Wendigo with a deer skull for a head

 

 

(18) WENDIGO

 

“The Wendigo, the Wendigo
I saw it just a friend ago
Last night it lurked in Canada
Tonight on your veranada!”

 

A malevolent supernatural being “in the mythologies of several Algonquian and Athabaskan peoples”, with its definitive characteristic as its monstrously voracious hunger, for eating you – or perhaps even worse, possessing you. While its definitive characteristic is its hunger for human flesh, whether literally as predation or metaphorically as possession, its more disturbing feature is its human origin – that the Wendigo is a human transformed into a cannibal monster.

The nature of that transformation varies – “you can become one just by coming across a Wendigo, being possessed by the spirit of a Wendigo or even dreaming of a Wendigo”. Of course, that suggests that somewhere down the chain, there must be an original Wendigo, which is where other causes of transformation might kick in, such as cannibalism or whatever.

The appearance of the Wendigo also varies – “its most common description is a dreadfully skinny giant of ice devoid of lips and toes”, although recently that’s been overtaken by having antlers or even a deer’s skull with antlers for a head due to recent media adaptations or depictions.

What also varies is the way it can be killed, if indeed it can be. “The more it devours, the larger and more powerful it grows, and thus it can never find enough food to satisfy its hunger”.

Although it varies, the Wendigo is consistently a “malevolent, cannibalistic, supernatural being” – “they were strongly associated with the north, winter, cold, famine, starvation”. As such, it has been widely adapted throughout popular culture, particularly in the horror genre.

 

RATING:

X-TIER (WILD TIER)

 

 

Promotional poster art for the 2023 film The Boogeyman, adapted from the Stephen King short story of that name

 

 

(19) BOOGEYMAN

 

“I don’t want to alarm you but there may be a boogeyman – or boogeymen – in the house!”

“The bogeyman also spelled or known as bogyman, bog, or bogey, and boogeyman in the United States and Canada is a mythical creature typically used to frighten children into good behavior. Bogeymen have no specific appearances, and conceptions vary drastically by household and culture, but they are most commonly depicted as…monsters that punish children for misbehavior.”

“The bogeyman, and conceptually similar monsters, can be found in many cultures around the world. Bogeymen may target a specific act or general misbehavior, depending on the purpose of invoking the figure, often on the basis of a warning from an authority figure to a child. The term is sometimes used as a non-specific personification or metonym for terror – and sometimes the Devil”.

There’s nothing really to add to that description, except for my fondness for the term bugbear which I understand to originate from the same etymology (and was adapted as a goblin-like creature in Dungeons and Dragons) – and that the Stephen King short story The Boogeyman remains one of my favorites.

“It is often described as a dark, formless creature with shapeshifting abilities. The bogeyman is known to satiate its appetite by snatching and consuming children. Descriptions of the bogeyman vary across cultures, yet there are often commonalities between them including claws/talons, or sharp teeth”.

 

RATING:

X-TIER (WILD TIER)

 

 

Pointing mirror guy meme

 

 

(20) DOPPELGANGER (FETCH & WEIRD)

 

“And I will show you something different from either

Your shadow at morning striding behind you

Or your shadow at evening rising to meet you”

 

That’s right – it’s you. You are your own worst mythic enemy, my final special mention for villains of mythology.

Well, okay – not exactly you, but another version of you. At least equally matched but possibly better than you – harder, better, faster, stronger – because they are supernatural and do you better than you do.

“A doppelgänger (also doppelgaenger and doppelganger) is a supernatural double of a living person, especially one who haunts the doubled person.” Usually ominous, as in literally an omen or “harbinger of bad luck”.

Essentially the same concept as the archaic usage of fetch or weird for a similar entity.

And yes – it’s also an exception to my rule of reserving my final twentieth special mention for a kinky or kinkier entry, unless of course that’s your kink or you want to take narcissism literally.

 

RATING:

X-TIER (WILD TIER – OR LITERALLY WEIRD TIER!)