Tomb Defenses are Lame

There can be no doubt that one of the oldest and most thrilling tropes in both the horror and action-adventure genres is the discovery of an ancient tomb.

The works of early Science Fiction, Horror, and Fantasy authors such as H.P. Lovecraft, and Robert E. Howard are chalk full of lost societies and forgotten burial grounds. As we move into the realms of Epic and High Fantasy we see the tradition cemented into all that would come after by Tolkien’s Barrow-Downs and (arguably) the Mines of Moria.

And of course we cannot discount the entire genre of archeologist-adventurer types which came out of stories like Sir Arthur Conan Doyle’s The Lost World (1912), found fertile ground in the mystery genre with characters like Elizabeth Peter’s Amelia Peabody, before becoming — by way of successful film characters like Indiana Jones (ok MOSTLY Indiana Jones) — the more action heavy virtuous treasure seekers like Clive Cussler’s Sam and Remi Fargo (in video games, think Tomb Raider’s Lara Croft, and Uncharted‘s Nathan Drake).

Oh and we shouldn’t forget about Michael Chricton’s Easy Go. Because WTF.

In any case, the sheer number of stories listed above suggests there is something inevitably alluring about pushing aside a heavy stone, and dropping a torch or (heaven forbid) our only flashlight into the darkness to see what mysteries it might reveal.

But whether the treasure we seek is a better understanding of those who came before us, or the gleam of gold and the spark of bullets ricocheting off a conveniently placed stone sarcophagus, we know to test the ground in front of us lest it crumble and send us down into a pit of wooden spikes. Or avoid any suspicious looking floor tiles that might be pressure sensitive lest it trigger projectile wooden spikes. Always be on the look out for a switch or crack in the wall which might reveal a hidden passageway. But even then be cautious because behind said door and in said hidden chamber is probably just more wooden spikes.

And ALWAYS heed ANY WRITING on ANY WALL — ANYWHERE — lest it be a Curse of the Pharaohs.

I’m talking traps.

And while there is no shortage of imaginative and extremely ELABORATE traps in fiction (looking at you single-use boulder), it may be somewhat disappointing to find that real tomb defenses were somewhat more mundane.

It turns out, the best way to keep someone out of a tomb is to bury it deeper, under harder materials. Other common defenses included covering everything with mud which when hardened was nearly impregnable, placing tomb entrances up high where there would be significant danger in access, fake burial chambers and labyrinths of store rooms to search through, and more big stone slabs which would block the way.

I base these assertions on the defenses found in many tombs of an ancient civilization famed across the world for the richness of their culture, grandeur of their architecture, and the general mystery of their lives: the tombs of the Ancient Egyptian Pharaohs.

I know there are many other civilizations which went to great lengths to protect their dead (I included a cool ancient Mayan example at the end), but the Ancient Egyptians are — which should be no shock to any long-time readers — the defenses I’m most familiar with.

Let’s (ahem) dig in!

Early Dynastic and Old Kingdom ( – 2200 BCE)

It seems pretty standard across cultures to want to protect the deceased, and memorialize them in some way. Burying them within the ground at least keeps away larger scavengers like dogs or maybe birds.

I’m not sure how common it is across cultures to bury the deceased with gifts, but in Ancient Egypt it was thought that the dead should be buried with items they might need in the afterlife. I’m sure these things were probably quite practical and mundane in the early days, but as their civilization’s wealth grew, and the importance of the individual within that civilization grew, the items they were buried with became more and more extravagant.

As time went on, it became important to protect not only the person’s physical body, but the goods they would take with them.

It seems that in this way, the original ‘pyramids’ began to form as larger and larger mounds were being piled on top of burial sites. Perhaps the Ancient Egyptians reasoned that the more sand, rock, and dirt someone had to clear away to get to the deceased, the more difficult they would be to rob.

It’s also important to note that during these early days, a lot tombs did not quite have the triangular shape we’re familiar with but rather a kind of rectangular shape. These tombs are called mastabas and definitely interesting in their own right.

Ninetjer (~ 2740 BC)

Ninetjer was the 3rd ruler in Egypt’s 2nd dynasty. Some sources say he lead for 96 years, but it seems most likely that he ruled for 43 or 45 years (still an impressive run for the time period).

His tomb is not a mastaba, or a pyramid as we’d expect, but a ‘gallery tomb’ (specifically Gallery Tomb B) which seems to be just a series of passageways built under other tombs in the Saqqara necropolis.

When I say a series I mean 192 passageways. Can you imagine? Try finding the good loot in that labyrinth. Whether intentional or not, I think it’s a great example of complexity as a defense mechanism.

Djoser (sometime between 2686 BC and 2611 BC)

The exact dates of King Djoser’s reign seems to be disputed with enough potential periods to make it cumbersome to list, but it seems he’s generally thought of as the founder of Egypt’s 3rd Dynasty.

Renowned for his infamous ‘step pyramid’, Djoser’s tomb appears to have been a mastaba at first with subsequent layers added on later.

In terms of defense? We have really thick rock (25m), subterranean tunnels for folks to get lost in, and two nearly identical shafts leading into the depths of the pyramid. One was fake and filled with dirt, the other went down to the burial chamber which was surrounded by a granite vault and plugged with a stone seal from above.

Buried Pyramid (2645BC)

Our next example also comes from the 3rd Dynasty, specifically Sekhemkhet Djoserty, who ruled between 2648-2640 BC as the dynasty’s 2nd pharaoh. It is likely that this king was either the brother or potentially the eldest son of the aforementioned Djoser.

His tomb was never finished, but would have been a step pyramid like that of his earlier relation. Sekhemkhet only ranked 132 chambers for grave goods, built in a U shape around his burial chamber (the result looking something like a trident).

For defense we again rely on a massive stone blocking the entrance to the burial chamber. It seems he may have also had a ‘fake tomb’ built to the south to fool grave robbers but in an extra twist, someone was actually buried there, an unidentified two-year-old child.

Sekhemket seems to have never made it to his own grave, as when archaeologist Zakaria Goneim finally breached the blocked wall on May 31st 1954, and opened the lid of the alabaster sarcophagus on June 26 1954, the coffin was empty . . . (dun dun duuunnnn)

Brick Pyramid at Abu Rawash (~ 2575 BC):

The next tomb on our list is that of King Djedefre, the 3rd ruler in Egypt’s 4th Dynasty, and the son of the infamous Khufu, for which the Great Pyramid of Giza was built.

Djedefra ruled for a period of ten to fourteen years sometime around 2575 BC.

His tomb was referred to as “Djedefre’s Starry Sky” and was thought to have been “the most beautiful of pyramids, with an exterior of polished, imported granite, limestone and crowned with a large pyramidion.” (Pyramid of Djedefre – Wikipedia)

It is notable for being the northernmost pyramid in Egypt, and was probably around the same size as Menkaure’s pyramid, which is the third largest of the Giza Pyramids. Of course I say probably because it seems it was never finished, and what was completed, was mostly deconstructed during the Roman occupation of Egypt for use in their own building projects.

The tomb’s notable defenses included disconnecting the burial chamber from the grave good chambers and setting the entrance high up into the face of the pyramid with shaft sloping down into the center. Presumably it was quite dangerous to reach the entrance.

Bent Pyramid at Dashur (~ 2600 BC):

I’ve tried to keep the pyramids on this list in an order which shows increasing sophistication over time; however, such a linear progression does not appear to have existed in reality.

King Sneferu was the founding member of the 4th Dynasty, ruling sometime around 2600 BC (so before the aforementioned Djedefre by at least 25 years). He built three pyramids, two in Meidum (the Red and Meidum pyramids respectively), and one in Dashur.

This pyramid in Dashur is known as the ‘bent’ pyramid as the angle at which its slope ascends changes from 54 degrees to 43 degrees. It is seen by many archaeologists as a kind of transitional phase between the ‘step’ pyramids which came before, and the ‘true’ pyramids which came after.

In terms of defenses, it seems the Bent pyramid was more varied in its approach than the other tombs discussed so far. Like the earlier ‘buried’ pyramid of the 2nd dynasty, Sneferu’s tomb also attempted some trickery in order to fool looters and grave robbers.

The tomb has two entrances, both high up off the ground, requiring people to climb up to them. One is fake and leads below ground and then back up to some ledges about 1 meter above ground. The other goes directly to 1 meter above ground.

The main chamber is blocked by two portcullis systems in which large stone slabs slid in from the side. Red ochre and sand were used to “ward evil” and magically protect the tomb, while thick mud was poured over everything within the grave. When this mud hardened it became nearly impenetrable.

While these defenses seem quite formidable, it would seem that the Bent Pyramid did have one weakness which ultimately rendered them ineffective. The pyramid was built with soft rock which was vulnerable to tunneling.

Amenhotep III (1386 – 1349 or 1388 – 1351 BC)

King Amenhotep III is by far the most recent Egyptian ruler on our list. He reigned as part of the 18th Dynasty between 1386 – 1349 BC, or perhaps 1388 – 1351 BC depending on the source and was buried within the Valley of the Kings.

His time as Pharaoh is thought to be one of “. . . unprecedented prosperity and splendor, when Egypt reached the peak of its artistic and international power.” – Wikipedia: Amenhotep III

Of the tombs we’ve reviewed so far, his tomb (uninspiringly named WV 22) includes perhaps the most cinematic defenses yet.

The main passage of the tomb ended in a plainly adorned room with a collection of various treasures, but it was equipped with a false wall which hid a passage to the heart of the tomb. Protecting said false wall, was a hidden pit which dropped 6 meters (20 feet). Pharaoh is thought to have paid (in perpetuity) people living nearby to replace the false floor after it was activated by looters.

While replacing the false floor in a tomb is not particularly exciting, it isn’t hard to see how tropes like Ancient Order of Protectors or — which I’ve always thought a bit ridiculous — Religion of Evil might have evolved out of this history.

Ancient Maya: Tomb of the Red Queen

The final tomb in our list comes to us circa 600 – 700 AD and does not reside in Egypt, but in Palenque, Southern Mexico. It is the resting place of an ancient Mayan noblewoman. Her tomb was coated with Cinnabar, a naturally occurring neurotoxin . . . Yikes.

So What?

I’m not sure about you, but I’ve had a blast learning about and discussing eight very real tombs, and the very real defenses they used to keep looters and grave robbers away from their dead.

Even though the traps and snares outlined here may not be quite as dramatic as those we’ve seen in Hollywood or our favorite adventure novel (no wooden spikes), I feel they’re quite fascinating in their own right.

When writing my own fiction, I found myself wanting to honor these ‘lame’ defenses in any tomb raiding scenes I came up with and it has often been a unique challenge to do so. Ultimately, the temptation for spectacle was too great and once I did fall back on some of my favorite tropes (a pharaoh’s curse is just too good to pass up lol), but I’m glad I started here first, with the real history.

That’s all I have for you this week, thanks for reading such a long post. What was the most interesting defense we discussed? Were there any I missed that you think should have been on the list? What’s your favorite Hollywood or Adventure Novel trap?

Please leave your thoughts in the comment section. I can’t wait to hear your insights!

See you next time!

My Obsidian Journey Part 2

Content Warning: The following post discusses hang-ups, trials, tribulations and what may be considered negative opinions of Obsidian knowledge management software. Obsidibros and Obsidipreneurs may find this content triggering . . .

JK. JK. In reality, I’m actually really enjoying using Obsidian for my writing, however, it hasn’t just been sunny skies and smooth sailing . . . hence the reason for these “journey” posts.

Anyway, it’s been about 6 months since Part 1 of My Obsidian Journey was posted on the blog, and almost a full year (10 months) since I began using Obsidian in general. At the time I’m writing this, my vault has grown from around 200 notes to 532.

Seventeen new posts have been written with the software and added to this blog but sadly little new fiction. I managed a flash piece for the April newsletter and have recorded premises for what feels like a thousand new stories, but is probably closer to only 10 or 20.

In some ways, this doesn’t feel like a ton of progress but I have suspicions that this has more to do with the artist than the tools. Spring and summer have been BUSY, and August even more so.

I should probably also consider that I’ve pretty much gone back to school in terms of writing style for my fiction, studying and attempting to learn a different mode than what I’m used to. It’s slow going, and often makes for little output. Hopefully you’ll begin to see the fruits of that labor very soon.

Nevertheless, there is a quote from the book Blood Sweat and Pixels which feels apropos of my my experience using Obsidian so far.

“Making a game is like constructing a building during an earthquake or trying to run a train as someone else is laying down track as you go…”

This is perhaps a bit dramatic in the context of writing with Obsidian, but I think it gets to the point of why using the software for writing can sometimes feel a bit difficult. Obsidian is a highly customizable software, which is serving a wide and variegated audience. It isn’t built just for fiction writers. Also, with new plugins, and standard features being added all the time, it’s constantly changing.

The ground is shaking while you’re trying to construct your building, and since it seems like you always need to write another note to connect to your current note, it can feel like your laying down the track after the train has already gone by.

The good news is, that quake seems to be shaking less and less with each passing day.

For instance, in my last post about Obsidian, I bemoaned the lack of a spell check feature. It has since been added. I also mentioned some plugins which would allow me to highlight text and create footnotes. I’ve given up using the plugins as I finally discovered how accomplish those functions using markdown (two equals signs ( = = ) in front of what you want to highlight).

I’ve learned to underline text with HTML.

Of course these examples are a bit small in the scope of things (though surprisingly cathartic to be able to accomplish); larger examples exist. I’ll share some of these higher level methods now, in hopes that they may be of some use to any fiction writers reading this post. Enjoy!

1. Draft Versioning with the “Slate Method”

One thing I was really struggling with while writing in Obsidian was managing my drafts and revisions. As any writer knows, sometimes you reach a certain point in a document, and you can just feel that it isn’t quite right. You want to start again but it feels a shame to delete all that work. What if you should change your mind? What are you to do?

Creating a new note seems like the obvious choice, and that is for the most part what I ended up doing in this scenario. However, the difficult bit was in the naming of the note. You want something easily identifiable so that you can go back to it later, but it also needs to be specific, and short is probably best so that the note name doesn’t get cut off in the sidebar.

I eventually ended up settling on a system which I’m calling the “Slate Method” which borrows from the film world.

You know that black piece of slate that disembodied hands clack together at the beginning of a take just after the director yells action? Well apparently all the gibberish scrawled across that slate is actually vital information, used by editors to determine what version of a scene they’re looking at.

Typically it will provide info like:
Name of Project

  • Director
  • Camera person
  • Date it was shot
  • Does the scene take place during the day or at night?
  • Interior or exterior shot
  • Synced Sound (is or isn’t)
  • “roll” – generally the sequential video tape, film roll, or digital card number
  • Scene – this changes every time the script moves to a new location or a new time.
  • Take – what version number
  • Camera setup – things like long, medium or wide shots. Differing points-of-view etc

Something that says Scene 2E Take 2 would be the camera setup E for scene 2 and it’s the second time it’s been filmed etc.

Obviously we don’t need all of the same information. I’m not even sure what “roll” would translate to for an author hahah. But we can use the strategy. For my current WIP, The Klatch of Clans, it ended up looking something like:

KC1.3 – Cofi Intro and Plots

So we have KC the story name, the number one, which is scene one, and then a .3 which means it’s my third attempt at the scene. Everything that comes after the dash vaguely reminds me what the scene is about.

If I whiff this attempt then I’m on to KC1.4 – Cofi Intro and Plots. If I finally get it down the way I want, then it’s on to KC2 – Cofi Leaves the Cook Tent. And then KC2.1 – Cofi Leaves the Cook Tent if that goes awry.

Make sense?

It’s been working well enough so far. Everything I’ve been writing recently has been a short story so I’m not sure how it will hold up with something longer like a novel. But we’ll cross that bridge when we come to it.

Random Note Function

This one is helpful if you’re not sure what to work on, or just need a change of pace. Apparently there is a little icon on the left side of Obsidian which allows you to just open a random note. My original plan once I discovered this was to click it each morning when I sit down at the computer.

That hasn’t exactly been happening. Usually when I sit down to work, there’s ten things I’ve been trying to finish on the screen and I never get to opening up something random. But in theory, this could help when you’re unsure what to work on.

Dataview Plug-In

This plug-in searches for metadata that you can add to notes and then format the results into interesting tables like this one below:


This particular table keeps track of all the story premises I’ve started which involve a particular character, in this case, Bezmira.

I picked this trick up from Eleanor Konik, the obsidian master, in her Fiction Project Management video (around 15 min mark).

So far, my Fairy Tale Russia universe is the only thing large enough to really make any kind of use of this plug-in, but I have some ideas for how I might want to do so in the future. As with seemingly everything in Obsidian, the more you use it, the better it works, but right now while I don’t have that many notes tagged with metadata, it’s more potential than practical.

Mind Mapping with Canvas

Canvas has apparently been a standard feature of Obsidian for at least two years or so. But apparently I somehow never heard about it until just the other week.

I think this is what I’ll be using for storyboarding and outlining from now on. It’s pretty amazing what it can accomplish. From the picture below, you can see I’ve started a flow chart like outline for a story called Like Clockwork. I can drop small comments on the canvas or whole notes. I can put in images for inspiration too.

Authors will be familiar with try/fail cycles in their scenes, essentially your character should not just succeed at every little problem that comes her way. In the image, you can see some of the comments are highlighted red. These are the “fails” before the MC eventually succeeded. With it all laid out like this it’s quite easy to see, and there’s a grouping function which helps you categorize stuff into say . . . Act 1 . . . or ‘Approaches the Inmost Cave’ if you’re a Hero’s Journey person.

A tool that is often recommended to help when developing characters is called Scapple. I’ve tried it and never really figured out how to use it in a way that actually helped develop more multifacited characters. I’m anxious to see if this changes with Canvas which (IMHO) seems a bit more intuitive to use.

Finally you’ll notice I’ve got the actual text of my story open in a pane on the left hand side so I can just look at my outline and write to my heart’s content.

Very cool.

Some Stuff to Try and See

These are more Eleanor Konik tips and tricks, this time via Eric Goebelbecker’s post on her newsletter.

  • LongForm Plugin – allows for managing long form projects in Obsidian
  • Pandoc Plugin – allows you to export documents to Word, PDF, ePub, HTML, Pwoerpoint and LaTex (and more)

I haven’t tried any of these yet, but I will certainly be doing so as I look more towards long form writing again . . . whenever I decide to do that.

Yeesh! When will this Post End: My Final Thoughts

I can’t say that I’m a thousand times more productive, or that sometimes I don’t still get writers block. However, I feel like I am keeping track of things a lot better, and that alone seems to allow me to get a little closer to what I actually am trying to write. To think slightly deeper. Cut a little closer to the heart of the matter.

Perhaps that is not true, and my quality is the same as it has always been, but everything feels just a little sharper.

And for now, that is making all the difference.

That’s all for this week. Are any of you using Obsidian for fiction? For something else? How’s it working out for you? Any tips?

Leave your answers in the comments. See you next time!

My Obsidian Journey Part 1

After celebrating Tolkien Reading Day last week with a review of The Hobbit (1968 BBC Radio) and speculating on The Real Reason We Can’t Make Any Sense of 65 the week before, I’ve been having quite a bit of fun wearing my fannish cap these last couple weeks. I can never fully take that cap off, and even as I type up this post, there’s a part of me that’s anxiously anticipating #NationalVelociraptorDay coming up, #WorldBookDay after that, and then #WyrdAndWonder in May.

These activities are all well and good, but they’re just one kind of writing that I do, and in general, perhaps not the most challenging in terms of craft (although the ’65’ post surprised me at how much time it took to write and research).

The challenging parts of writing seem to reserve themselves for my attempts at original fiction. A story question — like “What if dinosaurs helped ancient Egyptians build the pyramids?” — might be the type of question authors love because because the answer is only limited to what they can imagine, but in attempting to answer that question, they will almost certainly come across other questions. What did the ancient Egyptians eat? Why were dogs so important to their culture? (for another story) Where else have we seen that Death personified? Is any of this something I can use?

Answering these questions is challenging enough, but keeping track of the answers adds another level of difficulty. Managing drafts, or attempting new (to me) writing techniques, adds still more trials.

It can all feel quite overwhelming.

Thankfully, these challenges are not unique to me, but seem to be prevalent among authors of every stripe, and as such there is an almost infinite well of possible solutions (finding anything useful that actually works for you is still a further challenge).

Enter Obsidian.

Touted as a “knowledge management” software (ahem note taking app), Obsidian’s whole premise seems to hinge on linking knowledge that you’ve already obtained with whatever it is you’re learning now.

In the words of Steve Jobs, “Creativity Is Just Connecting Things”.

Obsidian uses backlinking to allow you to make these connections, and has a pretty neat graph view which allows you not only to visualize the links, but also look around for more stuff you could link together. As the theory goes, using Obsidian allows you to create new and novel ideas, by making connections between the raw and disparate notes you’ve accumulated.

As Youtuber Aidan Helfant says:

” . . . most of the work comes in collecting and connecting information. When you sit down to write, you should be eighty percent done already . . . your past self does the work for you.” – from his video Lump, Dump & Jump (what a title!)

Like who doesn’t want that?

To be 80% done as soon as I sit down? Sign me up!

How it Started

Despite my current enthusiasm, quite a lot of time passed between when I originally heard about Obsidian (Worldcon 2021), and when I eventually installed it on my computer in November 2022. I think at that time, I had just begun experimenting with Scrivener, and I was not ready to simply jump ship because some new thing had come along no matter how good it sounded.

I’ve now “completed” — I seem to follow the old adage: Stories are never finished, but some are released — several more short stories (using Scrivener), and wiped out pretty spectacularly on a NaNoWriMo novel after 35,000 words. At least three of those short stories and the languishing novel were written in a “shared universe” aka fairytale Russia. Perhaps I still don’t know what I’m doing in Scrivener, but I struggled often when needing to reference points or characters from the previous stories, or facts I’d researched for one story but were actually useful for another.

Needless to say, a floaty graph with a bunch of links illustrated on my screen was starting to look mighty appealing.

How It’s Going

As of March 28th I’ve input 223 notes into my “vault”. About 15 are ideas related to ongoing fiction projects I’m working on. Like 2 are related to fairy tale Russia, and the rest are attached to a handful of premises that popped into my brain since November.

Of that handful only another two even have a whisper of an outline. A third I tried to pants my way through for tomorrow’s newsletter, but it’s stalled pretty heavily due to I’m not a pantser. A (hopefully) funny piece of flash fiction will release though . . .

The rest are about Ancient Egypt.

Ok, that’s a lie although that topic is probably what the majority of my notes are about. I would say there are also large chunks of notes about Writing Craft, Blog posts in various stages of development (including this one!) from a single sentences to complete at 1.5k words . . . an empty folder about 3D printing . . . ?

What Gives?

As I’m learning from the infinite amount of forum/reddit posts, Obsidian is a LOT of things. What I’m learning from my own experience, is that it is NOT a polished writing software like Scrivener, or even Microsoft Word.

Fiction can be written, and linked together in the fashion I’ve been imagining but there are a lot of simple things inherent in these other softwares that simply aren’t inherent to Obsidian (as far as I can tell). Things like SPELL CHECK!!

But hope is not completely lost. With the right plug-in, it seems you can accomplish almost anything you want.

So far the plugins I’ve found immediately useful allow me to:

  • Make Footnotes
  • Highlight a piece of text and then make a comment

Some plugins I’ve found that have potential:

  • Creating Timelines

Plugins that didn’t allow me to do what I wanted but I may still try to find a use for:

  • Kanban board
  • Make Columns

There are literally a gazillions of these plugins, so I’m sure I will be adding more and more as time goes on.

Verdict So Far . . .

In general, my journey with Obsidian has been a bit of a mess. Often in the beginning, it felt like I would sit down to write, starting at -80% complete instead of Helfant’s +80%. There is no doubt that the learning curve is high, and a lot of processes I already had in place with other writing software, I have to build again from scratch, often rethinking the methods entirely.

It can definitely be a bit much.

Fortunately (or perhaps unfortunately), I still get glimpses of the promise inherent in Obsidian’s design. Recently I’ve been learning quite a bit about cinematography. I had no intention of using any of the notes I took on lighting techniques or camera angles in a story, but when an idea came for a story, I was instantly able to connect those ideas to a plot formula I’d taken notes on earlier in the year.

Creativity, just by connecting things.

I’ll stick with it for now. Try a few more stories and continue to test out different plug-ins. There seems to be at least a few authors who have already blazed this trail, so perhaps I can learn some tricks from them.

My hunch is that this tool favors the long game. We’ll give it more time and see.

That’s pretty much it for me about Obsidian right now. Is anyone else using this to write fiction? What are your favorite features/plugins? How about your most frustrating issues? Leave your answers in the comments. Would love to learn more from y’all.

Death Is People Too: Personifying the Loss of Existence in History and Fiction

Hi all! Please excuse the rather academic sounding title of this post, and perhaps its seemingly disturbing subject matter. It’s not my intent to be macabre or grim, but rather just a chance to write about some of the research rabbit holes I’ve fallen down and ‘show my work’ while reading the works of others, or attempting to write my own fiction. If you’ve read my Food in Ancient Egypt post, this is something along the same lines.

It may later relate to an ARC I’m hoping to review on the blog Tuesday, it may turn out to be nothing (aka I didn’t finish reading the book on time).

Anyway, here’s some notes on Death as personified in history and fiction. Enjoy!

Summary

The personification of death is a common trope in fiction, history and mythology. Mostly, death is personified as a god or goddess, or at the very least, a shadowy figure meant to inspire fear.

The Notes . . .

The Grim Reaper

Usually a skeletal figure, shrouded in a dark, hooded robe and carrying a scythe to “reap” human souls.

The Grim Reaper seems to have appeared in Europe during the 14th century, when the continent was dealing with the Black Death believed to be the result of the plague. Nearly a third of Europe’s entire population perished as a result of this pandemic.

While the symbolism of the skeleton is obvious enough (a dead and decayed human body) the dark robes are not as obvious. It’s believed that they are reminiscent of the robes of religious figures of the time conducting funerary services. The scythe was probably a very prevalent image for farmers of the time, using this tool to harvest crops. As such, The Grim Reaper becomes a harvester of souls.

Four Horsemen of the Apocalypse

In The Bible, Death is personified as one of the Four Horsemen of the Apocalypse, the others being Pestilence, War, and Famine. Each of the horsemen ride a different color horse (White/Pestilence, Red/War; Black/Famine) with Death coming last on a “Pale” horse. It is believed that this coloring is meant to represent the paleness of a corpse, and is sometimes depicted as green or greenish yellow as the original Greek is ‘khloros’ (like chlorophyll or chlorine).

While the other horsemen carry objects, Death is accompanied only by ‘Hades’. Though Hades is often personified as a greek god, it seems that in this instance, the name is meant to represent the underworld which the dead will go to. Death is the only one of the horsemen explicitly given a name: Thanatos.

More modern depictions of Death as the final horsemen often add the imagery of the Grim Reaper with death as a black-robed skeleton, wielding a scythe.

Gods of Death

In Ancient Egypt

The Ancient Egyptian god of the underworld was Osiris, and as a human mummy, he is probably the best candidate for a personification of death within the Ancient Egyptian pantheon. However, his roll in their mythology was primarily that of a judge, and it is not obvious that he ever left the Duat.

Perhaps more similar to Christian personifications of death, is the Ancient Egyptian god Anubis who is responsible for overseeing funerary rites, protecting graves, and guiding souls through the Duat.

Since Anubis is generally represented as a jackal, or a jackal headed man, it is uncertain whether this counts as “personification”, but it is certainly similar.

Dogs had and important roll in Ancient Egypt, and jackal headed deities were quite prominent. Please see my review of Death Dogs: The Jackal Gods of Ancient Egypt if you’re interested in more information.

In Slavic Folklore

Death was personified by a woman whose name is slightly different depending on the language, but generally known as Morana (Marena in Russian, Marzanna in Polish etc).

Specifically, she was associated with the death of winter, rebirth and dreams.

Potential Reading List For This Trope

Obviously, this list is not exhaustive, but these are the titles which are on my radar recently. You’ll notice quite a few humorous offerings on the list, which might just reflect what I’m interested in right now. I’ll add links to any reviews I do here as I go. Please leave me recommendations in the comments!

  • Mort by Terry Pratchett
  • The Sandman by Neil Gaiman (1989)
  • Good Omens by Terry Pratchett AND Neil Gaiman
  • A Dirty Job by Christopher Moore
  • The Book Theif Markus Zusak
  • Gods of Jade and Shadow by Silvia Moreno- Garcia
  • Death with Interruptions by Jose Saramago (2009)
  • Scythe by Neal Shusterman
  • Grave Mercy by Robin LaFevers
  • The Fifth Horsemen by Jon Smith

Links

Wikipedia:

Death Personified: The Best Fiction with Death as a Character – https://www.talkdeath.com/death-personified-best-fiction-with-death-as-a-character/

Where Does the Concept of a “Grim Reaper” Come From? – https://www.britannica.com/story/where-does-the-concept-of-a-grim-reaper-come-from

Conclusion?

Nothing too much as of yet, but I’m definitely fascinated by these personifications, and hope to research them more and add to this post as I learn. Are there any cultures I should look at right away? Any books I missed on the reading list?

Please let me know in the comments!