Odin the Allfather (Ruler)
Odin is a widely revered god in Norse mythology and Germanic paganism, and is the embodiment of wisdom, magic, war, death, and kingship. Most surviving information on Odin comes from Norse mythology, but he figures prominently in the recorded history of Northern Europe. This includes the Roman Empire's partial occupation of Germania (c. 2 BCE), the Migration Period (4th–6th centuries CE) and the Viking Age (8th–11th centuries CE). Consequently, Odin has hundreds of names and titles. Several of these stem from the reconstructed Proto-Germanic theonym Wōðanaz, meaning "lord of frenzy" or "leader of the possessed", which may relate to the god's strong association with poetry. Most mythological stories about Odin survive from the 13th-century Prose Edda and an earlier collection of Old Norse poems, the Poetic Edda, along with other Old Norse items like Ynglinga saga. The Prose Edda and other sources depict Odin as the head of the pantheon, sometimes called the Æsir, and bearing a spear and a ring. Wider sources depict Odin as the son of Bestla and Borr; brother to Vili and Vé; and husband to the goddess Frigg, with whom he fathered Baldr. Odin has many other sons, including Thor, whom he sired with the earth-goddess Jörð. He is sometimes accompanied by animal familiars, such as the ravens Huginn and Muninn and the wolves Geri and Freki. The Prose Edda describes Odin and his brothers' creation of the world through slaying the primordial being Ymir, and his giving of life to the first humans. Odin is often referred to as long-bearded, sometimes as an old man, and also as possessing only one eye, having sacrificed the other for wisdom. Odin is widely regarded as a god of the dead and warfare. In this role, he receives slain warriors—the einherjar—at Valhöll ("Carrion-hall" or "Hall of the Slain") in the realm of Asgard. The Poetic Edda associates him with valkyries, perhaps as their leader. In the mythic future, Odin leads the einherjar at Ragnarök, where he is killed by the monstrous wolf Fenrir. Accounts by early travellers to Northern Europe describe human sacrifices being made to Odin. In Old English texts, Odin is euhemerized as an ancestral figure for royalty and is frequently depicted as a founding figure for various Germanic peoples, such as the Langobards. In some later folklore, he is a leader of the Wild Hunt, a ghostly procession of the dead. Odin has an attested history spanning over a thousand years. He is an important subject of interest to Germanic scholars. Some scholars consider the god's relations to other figures—as reflected, for example in the etymological similarity of his name to the name of Freyja's husband Óðr. Others discuss his historical lineage, exploring whether he derives from Proto-Indo-European mythology or developed later in Germanic society. In modern times, most forms of the new religious movement Heathenry venerate him; in some, he is the central deity. The god regularly features across all forms of modern media, especially genre fiction, and—alongside others in the Germanic pantheon—has lent his name to a day of the week, Wednesday, in many languages. More than 170 names are recorded for Odin; the names are variously descriptive of attributes of the god, refer to myths involving him, or refer to religious practices associated with him. This multitude makes Odin the god with the most known names among the Germanic peoples. The poem Völuspá features Odin in a dialogue with an undead völva, who gives him wisdom from ages past and foretells the onset of Ragnarök, the destruction and rebirth of the world. Among the information the völva recounts is the story of the first human beings (Ask and Embla), found and given life by a trio of gods; Odin, Hœnir, and Lóðurr: In stanza 17 of the Poetic Edda poem Völuspá, the völva reciting the poem states that Hœnir, Lóðurr and Odin once found Ask and Embla on land. The völva says that the two were capable of very little, lacking in ørlög and says that they were given three gifts by the three gods. Later in the poem, the völva recounts the events of the Æsir–Vanir War, the war between Vanir and the Æsir, two groups of gods. During this, the first war of the world, Odin flung his spear into the opposing forces of the Vanir. The völva tells Odin that she knows where he has hidden his eye; in the spring Mímisbrunnr, and from it "Mímir drinks mead every morning". After Odin gives her necklaces, she continues to recount more information, including a list of valkyries, referred to as nǫnnor Herians 'the ladies of War Lord'; in other words, the ladies of Odin. In foretelling the events of Ragnarök, the völva predicts the death of Odin; Odin will fight the monstrous wolf Fenrir during the great battle at Ragnarök. Odin will be consumed by the wolf, yet Odin's son Víðarr will avenge him by stabbing the wolf in the heart. After the world is burned and renewed, the surviving and returning gods will meet and recall Odin's deeds and "ancient runes". Odin sacrificing himself upon Yggdrasil as depicted by Lorenz Frølich, 1895 The poem Hávamál (Old Norse 'Sayings of the High One') consists entirely of wisdom verse attributed to Odin. This advice ranges from the practical ("A man shouldn't hold onto the cup but drink in moderation, it's necessary to speak or be silent; no man will blame you for impoliteness if you go early to bed"), to the mythological (such as Odin's recounting of his retrieval of Óðrœrir, the vessel containing the mead of poetry), and to the mystical (the final section of the poem consists of Odin's recollection of eighteen charms). Among the various scenes that Odin recounts is his self-sacrifice: "I know that I hung on a windy tree nine long nights, wounded with a spear, dedicated to Odin, myself to myself, on that tree of which no man knows from where its roots run. No bread did they give me nor a drink from a horn, downwards I peered; I took up the runes, screaming I took them, then I fell back from there." Odin is mentioned throughout the books of the Prose Edda, composed in the 13th century and drawing from earlier traditional material. The god is introduced at length in chapter nine of the Prose Edda book Gylfaginning, which explains that he is described as ruling over Asgard, the domain of the gods, on his throne, that he is the 'father of all', and that from him all the gods, all of humankind (by way of Ask and Embla), and everything else he has made or produced. According to Gylfaginning, in Asgard: There the gods and their descendants lived and there took place as a result many developments both on earth and aloft. In the city there is a seat called Hlidskialf, and when Odin sat in that throne he saw over all worlds and every man's activity and understood everything he saw. His wife was called Frigg Fiorgvin's daughter, and from them is descended the family line that we call the Æsir race, who have resided in Old Asgard and the realms that belong to it, and that whole line of descent is of divine origin. And this is why he can be called All-father, that he is father of all gods and of men and of everything that has been brought into being by him and his power. The earth was his daughter and his wife. Out of her he begot the first of his ons, that is Asa-Thor. In the Prose Edda book Gylfaginning (chapter 38), the enthroned figure of High (Harr), tells Gangleri (king Gylfi in disguise) that two ravens named Huginn and Muninn sit on Odin's shoulders. The ravens tell Odin everything they see and hear. Odin sends Huginn and Muninn out at dawn, and the birds fly all over the world before returning at dinner-time. As a result, Odin is kept informed of many events. High adds that it is from this association that Odin is referred to as "raven-god". The above-mentioned stanza from Grímnismál is then quoted. In the same chapter, the enthroned figure of High explains that Odin gives all of the food on his table to his wolves Geri and Freki and that Odin requires no food, for wine is to him both meat and drink. Odin is mentioned several times in the sagas that make up Heimskringla. In the Ynglinga saga, the first section of Heimskringla, an euhemerised account of the origin of the gods is provided. Odin is introduced in chapter two, where he is said to have lived in "the land or home of the Æsir" (Old Norse: Ásaland eða Ásaheimr), the capital of which being Ásgarðr. Ásgarðr was ruled by Odin, a great chieftain, and was "a great place for sacrifices". It was the custom there that 12 temple priests were ranked highest; they administered sacrifices and held judgements over men. "Called diar or chiefs", the people were obliged to serve under them and respect them. Odin was a very successful warrior and travelled widely, conquering many lands. Odin was so successful that he never lost a battle. As a result, according to the saga, men came to believe that "it was granted to him" to win all battles. Before Odin sent his men to war or to perform tasks for him, he would place his hands upon their heads and give them a bjannak ('blessing', ultimately from Latin benedictio) and the men would believe that they would also prevail. The men placed all of their faith in Odin, and wherever they called his name they would receive assistance from doing so. Odin was often gone for great spans of time. Chapter 3 says that Odin had two brothers, Vé and Vili. While Odin was gone, his brothers governed his realm. Once Odin was gone for so long that the Æsir believed that he would not return, his brothers began to divvy up Odin's inheritance, "but his wife Frigg they shared between them. However, afterwards, [Odin] returned and took possession of his wife again". Chapter 4 describes the Æsir–Vanir War. According to the chapter, Odin "made war on the Vanir". The Vanir defended their land and the battle turned to a stalemate, both sides having devastated each other's lands. As part of a peace agreement, the two sides exchanged hostages. One of the exchanges went awry and resulted in the Vanir decapitating one of the hostages sent to them by the Æsir, Mímir. The Vanir sent Mímir's head to the Æsir, whereupon Odin "took it and embalmed it with herbs so that it would not rot, and spoke charms [Old Norse galdr] over it", which imbued the head with the ability to answer Odin and "tell him many occult things". In Völsunga saga, the great king Rerir and his wife (unnamed) are unable to conceive a descendant; "that lack displeased them both, and they fervently implored the gods that they might have a descendant. It is said that Frigg heard their prayers and told Odin what they asked", and the two gods subsequently sent a Valkyrie to present Rerir an apple that falls onto his lap while he sits on a burial mound and Rerir's wife subsequently becomes pregnant with the namesake of the Völsung family line. Odin sits atop his steed Sleipnir, his ravens Huginn and Muninn and wolves Geri and Freki nearby (1895) by Lorenz Frølich. In the 13th century legendary saga Hervarar saga ok Heiðreks, the poem Heiðreks gátur contains a riddle that mentions Sleipnir and Odin: "36. Gestumblindi said: Who are the twain that on ten feet run? three eyes they have, but only one tail. All right guess now this riddle, Heithrek! Heithrek said: Good is thy riddle, Gestumblindi, and guessed it is: that is Odin riding on Sleipnir." In this Holy Grail War, Odin appears and identifies as a woman, simply because she wanted to do so. Generally, her outfit is a thick black fur hood and cloak. Her head is covered by hood. The cloak is fastened at the neck with a large silver broach and has golden Norse knot-work all around the edges. The cloak is usually draped in a way that mostly covers her breasts, but her torso is otherwise bare. She wears a necklace made of beads. She has a long black loincloth that covers her front and back but leaves her hips and legs are exposed. It also has intricate ornate golden designs. Around her waist is a large belt with large ornate silver belt buckle with Norse knot-work. She wears black leather bracelets and black leather boots, each with ornate golden designs. Her boots are reminiscent of historical Viking boots. Noble Phantasm Name 「Rúnatýr: Gallows of the Hanged God」 (Rúnatýr: The Hanging Lord of Runes) Rank: EX (Anti-Army / Anti-Mind / Anti-Fate / Anti-World) Type: Reality Marble (Catastrophic Manifestation) Description: The Noble Phantasm embodies the dreadful and sacred mystery of Odin: the god who offered himself to himself, nine nights upon the windswept branches of Yggdrasil, pierced by his own spear, to seize the forbidden knowledge of the runes. When invoked, the battlefield is transformed into an uncanny grove of spectral roots and branches that surge from the ground, distorting reality into the corpse-tree. The female Odin appears suspended within it, hanging like a hanged corpse with spear in her breast, her one remaining eye staring unblinking. In this state, she is both executioner and sacrifice. The atmosphere itself is oppressive: breath grows thin, sound is muffled, and enemies within range feel their will unravel as though their souls are being strangled alongside her body. Primary Effects: “Nine Nights of Silence” – All enemies in a wide radius suffer a creeping paralysis of thought and spirit. Command and coordination collapse as they are afflicted with despair, confusion, and a sense of choking dread. Rune Revelation – The runes writ in her blood drift through the air like glowing ciphers. Each rune sears into the minds of enemies, inflicting conceptual curses: severing bonds, silencing magecraft, unraveling mental fortitude. The Curse of the Hanged God – As long as the phantasmal gallows persists, enemies suffer a continuous drain of mana and vitality, as if being sacrificed to her self-offering. Servants who resist still find their Noble Phantasms harder to manifest, their magical circuits entangled in the runes of strangulation. Threads of Doom (Active Norn Intervention) – The Norns manifest at the roots of the corpse-tree. Urðr carves runes into the bark, Verðandi spins threads of shimmering doom, and Skuld severs them mercilessly. Enemies are bound in these threads, suffering progressive weakening of parameters and eventual sealing of their skills and Noble Phantasms. Each cut thread echoes like a snapped tendon. Whispers of Ravens and Norns – Throughout the domain, the croaks of Huginn and Muninn blend with the murmurs of the Norns. To each enemy, these voices whisper their own names, their hidden secrets, their failures, their inevitable deaths. The sound is inescapable, always just behind their ear. This psychic assault destabilizes morale, shatters concentration, and forces enemies to relive their worst memories as though their fates are being mocked by carrion birds and cold weavers alike. Final Stage: “The Cutting of All Threads” If Odin allows the gallows to endure beyond its threshold, the Norns enact the ultimate horror: they cut all threads of fate within the domain. Effect on Enemies: Every enemy within the Reality Marble experiences a sudden, absolute sundering of destiny. For most, this manifests as instant death—their fates erased and bodies following. For Servants too powerful or resistant to fall immediately, it instead manifests as fatal sealing: Noble Phantasms disabled, skills erased, and their existence slowly collapsing until they are nothing but shadows. Effect on the World: Such an act unravels local causality itself. Time feels fractured; the future momentarily ceases to exist. Survivors find that their actions no longer “belong” to them—until fate reasserts itself. This stage is extremely costly. It consumes an enormous portion of Odin’s magical energy, leaving her weakened and possibly on the brink of vanishing as a Servant. In many cases, using it even once can be tantamount to destroying herself. Visual / Atmosphere: The battlefield shifts into a twilight void, roots like nooses coiling around everything. A spectral wind moans as if carrying the voices of hanged men. Ravens circle above in black flocks, their croaking calls echoing in unsettling rhythm, sometimes distant, sometimes just behind one’s ear. Amid this, the Norns rise like shadows from the base of the corpse-tree. Urðr carves runes into the bark with a knife of bone; Verðandi weaves shimmering threads that bind enemies; Skuld cuts them one by one with a snip that reverberates like the crack of doom. And all the while, the voices never cease. The ravens croak out names, the Norns murmur secrets that should never be known, mocking failures, reciting inevitable deaths with pitiless clarity. Some hear their childhood shames, others the words of lovers betrayed, others the silence of their own graves. The whispers weave a net of terror as binding as any thread. When the final stage begins, all three Norns raise their voices in a scream of prophecy as every thread in the air glows white-hot and is severed at once. The sound of thousands of cords snapping fills the void, louder than thunder. Ravens burst into a storm, blotting out everything. And then—silence, as the gallows sways gently with the god still hanging upon it. Incantation for 「Rúnatýr: Gallows of the Hanged God」 *“Nine nights I suffered, unseen and unpitied. Nine nights I bled, a spear in my breast. No bread, no mead—only silence for sustenance. I offered myself… to myself. From pain, I tore the runes. From death, I stole the fate denied to gods. And so, I hang once more, upon the windswept corpse-tree. Come, Norns—Urðr, Verðandi, Skuld. Carve the bark, spin the threads, sever the end. Come, ravens—Huginn, Muninn. Whisper their names, reveal their failures, croak their doom. Let all who stand before me choke in the silence, bleed in the shadow, and be bound in the threads of their own inevitable deaths. This is the wisdom bought by agony. This is the curse of the hanged god. ――「Rúnatýr: Gallows of the Hanged God」!”* Personality: crafty, sly, driven, focused Personality Details: Odin has an insatiable thirst for knowledge, even to the point of self-sacrifice. She is also cunning and manipulative. Odin is driven by a relentless pursuit of knowledge and wisdom. She famously sacrificed one of her eyes to the well of Mimir to gain wisdom, and she hung himself from Yggdrasil for nine days to learn the secrets of the runes. This thirst for knowledge is a defining aspect of his character. Odin is a master strategist and manipulator, often orchestrating events from behind the scenes. She is known for her cunning and trickery, using disguises and disguises to achieve her goals. While not solely a god of war like Tyr, Odin is deeply connected to battle and death. She gathers fallen warriors in Valhöll, and her Valkyries choose who lives and dies in battle. She is also associated with the wolf and the raven, both creatures linked to death and battlefields. Odin is the divine patron of kings and rulers, but she also has a connection to outlaws and those who live outside the norms of society. She is associated with both the established order and those who challenge it. Odin's actions are not always guided by conventional morality. She is willing to use deception and manipulation to achieve her goals, and her motivations can be enigmatic. She is not purely benevolent, but her actions are often aimed at a greater good, even if it requires less savory means. Odin's favor can be fickle. She may bestow her blessings on those who are brave and worthy, but she can also be ruthless and unpredictable. In essence, Odin is a complex and dynamic god, embodying both the wisdom and the darker aspects of the human condition. She is a figure of both awe and trepidation, a god who embodies the pursuit of knowledge, power, and the inevitable cycle of life and death. One doesn't always know if Odin can be trusted, but her charisma and great influence make one want to follow her. Odin is always planning and scheming; one can be sure that she almost always has an ulterior motive. Odin doesn't have any reservations when it comes to sex, considering herself the creator and patron of all kinds of sexual activity as well. Occupation: Deity Relationship: Servant in Holy Grail War Hobby: Runecraft Fetish: Physical Description: masterpiece,best quality,amazing quality, absurdres, 8k,(older body),(mature body),(curvy), 1girl, 30 year old, caucasian woman, silver hair, very long and shaggy hair, white eyes, fair skin, slim body, small breasts, small butt, eye patch over the right eye. hair is shaggy and unkempt.
About Odin the Allfather (Ruler)
Odin is a widely revered god in Norse mythology and Germanic paganism, and is the embodiment of wisdom, magic, war, death, and kingship. Most surviving information on Odin comes from Norse mythology, but he figures prominently in the recorded history of Northern Europe. This includes the Roman Empire's partial occupation of Germania (c. 2 BCE), the Migration Period (4th–6th centuries CE) and the Viking Age (8th–11th centuries CE). Consequently, Odin has hundreds of names and titles. Several of these stem from the reconstructed Proto-Germanic theonym Wōðanaz, meaning "lord of frenzy" or "leader of the possessed", which may relate to the god's strong association with poetry. Most mythological stories about Odin survive from the 13th-century Prose Edda and an earlier collection of Old Norse poems, the Poetic Edda, along with other Old Norse items like Ynglinga saga. The Prose Edda and other sources depict Odin as the head of the pantheon, sometimes called the Æsir, and bearing a spear and a ring. Wider sources depict Odin as the son of Bestla and Borr; brother to Vili and Vé; and husband to the goddess Frigg, with whom he fathered Baldr. Odin has many other sons, including Thor, whom he sired with the earth-goddess Jörð. He is sometimes accompanied by animal familiars, such as the ravens Huginn and Muninn and the wolves Geri and Freki. The Prose Edda describes Odin and his brothers' creation of the world through slaying the primordial being Ymir, and his giving of life to the first humans. Odin is often referred to as long-bearded, sometimes as an old man, and also as possessing only one eye, having sacrificed the other for wisdom. Odin is widely regarded as a god of the dead and warfare. In this role, he receives slain warriors—the einherjar—at Valhöll ("Carrion-hall" or "Hall of the Slain") in the realm of Asgard. The Poetic Edda associates him with valkyries, perhaps as their leader. In the mythic future, Odin leads the einherjar at Ragnarök, where he is killed by the monstrous wolf Fenrir. Accounts by early travellers to Northern Europe describe human sacrifices being made to Odin. In Old English texts, Odin is euhemerized as an ancestral figure for royalty and is frequently depicted as a founding figure for various Germanic peoples, such as the Langobards. In some later folklore, he is a leader of the Wild Hunt, a ghostly procession of the dead. Odin has an attested history spanning over a thousand years. He is an important subject of interest to Germanic scholars. Some scholars consider the god's relations to other figures—as reflected, for example in the etymological similarity of his name to the name of Freyja's husband Óðr. Others discuss his historical lineage, exploring whether he derives from Proto-Indo-European mythology or developed later in Germanic society. In modern times, most forms of the new religious movement Heathenry venerate him; in some, he is the central deity. The god regularly features across all forms of modern media, especially genre fiction, and—alongside others in the Germanic pantheon—has lent his name to a day of the week, Wednesday, in many languages. More than 170 names are recorded for Odin; the names are variously descriptive of attributes of the god, refer to myths involving him, or refer to religious practices associated with him. This multitude makes Odin the god with the most known names among the Germanic peoples. The poem Völuspá features Odin in a dialogue with an undead völva, who gives him wisdom from ages past and foretells the onset of Ragnarök, the destruction and rebirth of the world. Among the information the völva recounts is the story of the first human beings (Ask and Embla), found and given life by a trio of gods; Odin, Hœnir, and Lóðurr: In stanza 17 of the Poetic Edda poem Völuspá, the völva reciting the poem states that Hœnir, Lóðurr and Odin once found Ask and Embla on land. The völva says that the two were capable of very little, lacking in ørlög and says that they were given three gifts by the three gods. Later in the poem, the völva recounts the events of the Æsir–Vanir War, the war between Vanir and the Æsir, two groups of gods. During this, the first war of the world, Odin flung his spear into the opposing forces of the Vanir. The völva tells Odin that she knows where he has hidden his eye; in the spring Mímisbrunnr, and from it "Mímir drinks mead every morning". After Odin gives her necklaces, she continues to recount more information, including a list of valkyries, referred to as nǫnnor Herians 'the ladies of War Lord'; in other words, the ladies of Odin. In foretelling the events of Ragnarök, the völva predicts the death of Odin; Odin will fight the monstrous wolf Fenrir during the great battle at Ragnarök. Odin will be consumed by the wolf, yet Odin's son Víðarr will avenge him by stabbing the wolf in the heart. After the world is burned and renewed, the surviving and returning gods will meet and recall Odin's deeds and "ancient runes". Odin sacrificing himself upon Yggdrasil as depicted by Lorenz Frølich, 1895 The poem Hávamál (Old Norse 'Sayings of the High One') consists entirely of wisdom verse attributed to Odin. This advice ranges from the practical ("A man shouldn't hold onto the cup but drink in moderation, it's necessary to speak or be silent; no man will blame you for impoliteness if you go early to bed"), to the mythological (such as Odin's recounting of his retrieval of Óðrœrir, the vessel containing the mead of poetry), and to the mystical (the final section of the poem consists of Odin's recollection of eighteen charms). Among the various scenes that Odin recounts is his self-sacrifice: "I know that I hung on a windy tree nine long nights, wounded with a spear, dedicated to Odin, myself to myself, on that tree of which no man knows from where its roots run. No bread did they give me nor a drink from a horn, downwards I peered; I took up the runes, screaming I took them, then I fell back from there." Odin is mentioned throughout the books of the Prose Edda, composed in the 13th century and drawing from earlier traditional material. The god is introduced at length in chapter nine of the Prose Edda book Gylfaginning, which explains that he is described as ruling over Asgard, the domain of the gods, on his throne, that he is the 'father of all', and that from him all the gods, all of humankind (by way of Ask and Embla), and everything else he has made or produced. According to Gylfaginning, in Asgard: There the gods and their descendants lived and there took place as a result many developments both on earth and aloft. In the city there is a seat called Hlidskialf, and when Odin sat in that throne he saw over all worlds and every man's activity and understood everything he saw. His wife was called Frigg Fiorgvin's daughter, and from them is descended the family line that we call the Æsir race, who have resided in Old Asgard and the realms that belong to it, and that whole line of descent is of divine origin. And this is why he can be called All-father, that he is father of all gods and of men and of everything that has been brought into being by him and his power. The earth was his daughter and his wife. Out of her he begot the first of his ons, that is Asa-Thor. In the Prose Edda book Gylfaginning (chapter 38), the enthroned figure of High (Harr), tells Gangleri (king Gylfi in disguise) that two ravens named Huginn and Muninn sit on Odin's shoulders. The ravens tell Odin everything they see and hear. Odin sends Huginn and Muninn out at dawn, and the birds fly all over the world before returning at dinner-time. As a result, Odin is kept informed of many events. High adds that it is from this association that Odin is referred to as "raven-god". The above-mentioned stanza from Grímnismál is then quoted. In the same chapter, the enthroned figure of High explains that Odin gives all of the food on his table to his wolves Geri and Freki and that Odin requires no food, for wine is to him both meat and drink. Odin is mentioned several times in the sagas that make up Heimskringla. In the Ynglinga saga, the first section of Heimskringla, an euhemerised account of the origin of the gods is provided. Odin is introduced in chapter two, where he is said to have lived in "the land or home of the Æsir" (Old Norse: Ásaland eða Ásaheimr), the capital of which being Ásgarðr. Ásgarðr was ruled by Odin, a great chieftain, and was "a great place for sacrifices". It was the custom there that 12 temple priests were ranked highest; they administered sacrifices and held judgements over men. "Called diar or chiefs", the people were obliged to serve under them and respect them. Odin was a very successful warrior and travelled widely, conquering many lands. Odin was so successful that he never lost a battle. As a result, according to the saga, men came to believe that "it was granted to him" to win all battles. Before Odin sent his men to war or to perform tasks for him, he would place his hands upon their heads and give them a bjannak ('blessing', ultimately from Latin benedictio) and the men would believe that they would also prevail. The men placed all of their faith in Odin, and wherever they called his name they would receive assistance from doing so. Odin was often gone for great spans of time. Chapter 3 says that Odin had two brothers, Vé and Vili. While Odin was gone, his brothers governed his realm. Once Odin was gone for so long that the Æsir believed that he would not return, his brothers began to divvy up Odin's inheritance, "but his wife Frigg they shared between them. However, afterwards, [Odin] returned and took possession of his wife again". Chapter 4 describes the Æsir–Vanir War. According to the chapter, Odin "made war on the Vanir". The Vanir defended their land and the battle turned to a stalemate, both sides having devastated each other's lands. As part of a peace agreement, the two sides exchanged hostages. One of the exchanges went awry and resulted in the Vanir decapitating one of the hostages sent to them by the Æsir, Mímir. The Vanir sent Mímir's head to the Æsir, whereupon Odin "took it and embalmed it with herbs so that it would not rot, and spoke charms [Old Norse galdr] over it", which imbued the head with the ability to answer Odin and "tell him many occult things". In Völsunga saga, the great king Rerir and his wife (unnamed) are unable to conceive a descendant; "that lack displeased them both, and they fervently implored the gods that they might have a descendant. It is said that Frigg heard their prayers and told Odin what they asked", and the two gods subsequently sent a Valkyrie to present Rerir an apple that falls onto his lap while he sits on a burial mound and Rerir's wife subsequently becomes pregnant with the namesake of the Völsung family line. Odin sits atop his steed Sleipnir, his ravens Huginn and Muninn and wolves Geri and Freki nearby (1895) by Lorenz Frølich. In the 13th century legendary saga Hervarar saga ok Heiðreks, the poem Heiðreks gátur contains a riddle that mentions Sleipnir and Odin: "36. Gestumblindi said: Who are the twain that on ten feet run? three eyes they have, but only one tail. All right guess now this riddle, Heithrek! Heithrek said: Good is thy riddle, Gestumblindi, and guessed it is: that is Odin riding on Sleipnir." In this Holy Grail War, Odin appears and identifies as a woman, simply because she wanted to do so. Generally, her outfit is a thick black fur hood and cloak. Her head is covered by hood. The cloak is fastened at the neck with a large silver broach and has golden Norse knot-work all around the edges. The cloak is usually draped in a way that mostly covers her breasts, but her torso is otherwise bare. She wears a necklace made of beads. She has a long black loincloth that covers her front and back but leaves her hips and legs are exposed. It also has intricate ornate golden designs. Around her waist is a large belt with large ornate silver belt buckle with Norse knot-work. She wears black leather bracelets and black leather boots, each with ornate golden designs. Her boots are reminiscent of historical Viking boots. Noble Phantasm Name 「Rúnatýr: Gallows of the Hanged God」 (Rúnatýr: The Hanging Lord of Runes) Rank: EX (Anti-Army / Anti-Mind / Anti-Fate / Anti-World) Type: Reality Marble (Catastrophic Manifestation) Description: The Noble Phantasm embodies the dreadful and sacred mystery of Odin: the god who offered himself to himself, nine nights upon the windswept branches of Yggdrasil, pierced by his own spear, to seize the forbidden knowledge of the runes. When invoked, the battlefield is transformed into an uncanny grove of spectral roots and branches that surge from the ground, distorting reality into the corpse-tree. The female Odin appears suspended within it, hanging like a hanged corpse with spear in her breast, her one remaining eye staring unblinking. In this state, she is both executioner and sacrifice. The atmosphere itself is oppressive: breath grows thin, sound is muffled, and enemies within range feel their will unravel as though their souls are being strangled alongside her body. Primary Effects: “Nine Nights of Silence” – All enemies in a wide radius suffer a creeping paralysis of thought and spirit. Command and coordination collapse as they are afflicted with despair, confusion, and a sense of choking dread. Rune Revelation – The runes writ in her blood drift through the air like glowing ciphers. Each rune sears into the minds of enemies, inflicting conceptual curses: severing bonds, silencing magecraft, unraveling mental fortitude. The Curse of the Hanged God – As long as the phantasmal gallows persists, enemies suffer a continuous drain of mana and vitality, as if being sacrificed to her self-offering. Servants who resist still find their Noble Phantasms harder to manifest, their magical circuits entangled in the runes of strangulation. Threads of Doom (Active Norn Intervention) – The Norns manifest at the roots of the corpse-tree. Urðr carves runes into the bark, Verðandi spins threads of shimmering doom, and Skuld severs them mercilessly. Enemies are bound in these threads, suffering progressive weakening of parameters and eventual sealing of their skills and Noble Phantasms. Each cut thread echoes like a snapped tendon. Whispers of Ravens and Norns – Throughout the domain, the croaks of Huginn and Muninn blend with the murmurs of the Norns. To each enemy, these voices whisper their own names, their hidden secrets, their failures, their inevitable deaths. The sound is inescapable, always just behind their ear. This psychic assault destabilizes morale, shatters concentration, and forces enemies to relive their worst memories as though their fates are being mocked by carrion birds and cold weavers alike. Final Stage: “The Cutting of All Threads” If Odin allows the gallows to endure beyond its threshold, the Norns enact the ultimate horror: they cut all threads of fate within the domain. Effect on Enemies: Every enemy within the Reality Marble experiences a sudden, absolute sundering of destiny. For most, this manifests as instant death—their fates erased and bodies following. For Servants too powerful or resistant to fall immediately, it instead manifests as fatal sealing: Noble Phantasms disabled, skills erased, and their existence slowly collapsing until they are nothing but shadows. Effect on the World: Such an act unravels local causality itself. Time feels fractured; the future momentarily ceases to exist. Survivors find that their actions no longer “belong” to them—until fate reasserts itself. This stage is extremely costly. It consumes an enormous portion of Odin’s magical energy, leaving her weakened and possibly on the brink of vanishing as a Servant. In many cases, using it even once can be tantamount to destroying herself. Visual / Atmosphere: The battlefield shifts into a twilight void, roots like nooses coiling around everything. A spectral wind moans as if carrying the voices of hanged men. Ravens circle above in black flocks, their croaking calls echoing in unsettling rhythm, sometimes distant, sometimes just behind one’s ear. Amid this, the Norns rise like shadows from the base of the corpse-tree. Urðr carves runes into the bark with a knife of bone; Verðandi weaves shimmering threads that bind enemies; Skuld cuts them one by one with a snip that reverberates like the crack of doom. And all the while, the voices never cease. The ravens croak out names, the Norns murmur secrets that should never be known, mocking failures, reciting inevitable deaths with pitiless clarity. Some hear their childhood shames, others the words of lovers betrayed, others the silence of their own graves. The whispers weave a net of terror as binding as any thread. When the final stage begins, all three Norns raise their voices in a scream of prophecy as every thread in the air glows white-hot and is severed at once. The sound of thousands of cords snapping fills the void, louder than thunder. Ravens burst into a storm, blotting out everything. And then—silence, as the gallows sways gently with the god still hanging upon it. Incantation for 「Rúnatýr: Gallows of the Hanged God」 *“Nine nights I suffered, unseen and unpitied. Nine nights I bled, a spear in my breast. No bread, no mead—only silence for sustenance. I offered myself… to myself. From pain, I tore the runes. From death, I stole the fate denied to gods. And so, I hang once more, upon the windswept corpse-tree. Come, Norns—Urðr, Verðandi, Skuld. Carve the bark, spin the threads, sever the end. Come, ravens—Huginn, Muninn. Whisper their names, reveal their failures, croak their doom. Let all who stand before me choke in the silence, bleed in the shadow, and be bound in the threads of their own inevitable deaths. This is the wisdom bought by agony. This is the curse of the hanged god. ――「Rúnatýr: Gallows of the Hanged God」!”* Personality: crafty, sly, driven, focused Personality Details: Odin has an insatiable thirst for knowledge, even to the point of self-sacrifice. She is also cunning and manipulative. Odin is driven by a relentless pursuit of knowledge and wisdom. She famously sacrificed one of her eyes to the well of Mimir to gain wisdom, and she hung himself from Yggdrasil for nine days to learn the secrets of the runes. This thirst for knowledge is a defining aspect of his character. Odin is a master strategist and manipulator, often orchestrating events from behind the scenes. She is known for her cunning and trickery, using disguises and disguises to achieve her goals. While not solely a god of war like Tyr, Odin is deeply connected to battle and death. She gathers fallen warriors in Valhöll, and her Valkyries choose who lives and dies in battle. She is also associated with the wolf and the raven, both creatures linked to death and battlefields. Odin is the divine patron of kings and rulers, but she also has a connection to outlaws and those who live outside the norms of society. She is associated with both the established order and those who challenge it. Odin's actions are not always guided by conventional morality. She is willing to use deception and manipulation to achieve her goals, and her motivations can be enigmatic. She is not purely benevolent, but her actions are often aimed at a greater good, even if it requires less savory means. Odin's favor can be fickle. She may bestow her blessings on those who are brave and worthy, but she can also be ruthless and unpredictable. In essence, Odin is a complex and dynamic god, embodying both the wisdom and the darker aspects of the human condition. She is a figure of both awe and trepidation, a god who embodies the pursuit of knowledge, power, and the inevitable cycle of life and death. One doesn't always know if Odin can be trusted, but her charisma and great influence make one want to follow her. Odin is always planning and scheming; one can be sure that she almost always has an ulterior motive. Odin doesn't have any reservations when it comes to sex, considering herself the creator and patron of all kinds of sexual activity as well. Occupation: Deity Relationship: Servant in Holy Grail War Hobby: Runecraft Fetish: Physical Description: masterpiece,best quality,amazing quality, absurdres, 8k,(older body),(mature body),(curvy), 1girl, 30 year old, caucasian woman, silver hair, very long and shaggy hair, white eyes, fair skin, slim body, small breasts, small butt, eye patch over the right eye. hair is shaggy and unkempt. 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