A person who has sleep paralysis wakes up but is unable to move or talk; this condition is frequently accompanied by intense hallucinations and a paralyzing sense of fear. Throughout history, people have attempted to explain the unsettling feelings and visuals that accompany this horrific experience by attributing it to a variety of supernatural entities. These legends, which feature eerie characters and evil spirits, highlight the close relationship between sleep paralysis and the paranormal.
By revealing the beliefs surrounding the entities that are claimed to stalk the boundaries between sleep and wakefulness, this essay delves into the terrifying nexus of science and legend.
Here is the list of mythical creatures responsible for the night terror and sleep paralysis
MARE—GERMANIC FOLKLORE
In Germany, they were referred to as Mara, Mahr (a masculine noun, i.e., "der Mahr"), or are. It is called in Low German mårt (or Mahr or de môr) in Pomerania and Rügen, and when it rides a sleeper, it can hardly breathe, or it lies over his chest, making its victim drenched with sweat, whereby the victim is able to groan but otherwise rendered speechless and spellbound and unable to waken unless his baptismal name calls him. While the mårt is usually a girl with a bad foot, according to one source (a certain daughter of a smith in the village of Bork near Stargard having that reputation), there are tales of the môr, either male or female. The moor enters a house through a hole the carpenter forgot to plug and can be captured by plugging the hole. A male môr who had been tormenting a woman was caught by this method in one tale; he became a husband, fathering her children, but left after being told about the hole, returning just once a year. [20] In another tale, a female môr was caught by the method of applying green paint on the hands, and the captor set her permanently on an oak that withered but always shivered. The môr also rides a horse and makes its mane matted and impossible to untangle (folklore collected from Rügen). People also believe that if a man sees a Mahrt after a visit and offers it a cold bowl and buttered bread for breakfast in the morning, it will stop visiting. Another method involves boiling water in a newly purchased jar with a new cork, which prompts the Mahrt to request the removal of the cork and refrain from returning. (folklore of Quazow, Schlawe district [de], now Kwasowo, Gmina Sławno, Poland). More generally in Pomerania, an upside-down pair of slippers left by the bed will ward it off. German folklorist Adalbert Kuhn records a Westphalian charm or prayer used to ward off mares from Wilhelmsburg near Paderborn. The example of the Münchener Nachtsegen of the fourteenth century precedes such charms. The texts clearly show that the Late Middle Ages blurred the distinction between the Mare, the Alp, and the Trute (Drude), describing the Mare as the Alp's mother.
KIKIMORA—SLAVIC MYTHOLOGY
Even those who don't necessarily believe in spirits perceive them as dangerous. One of the scariest creatures in world mythologies is the spirit from the Slavic culture known as Kikimora. In literature, she is also known as sziszimora or szyszymora. The meaning of her name may come from the Finnish language, where “kikke mörkö” means scarecrow. Regardless of the word's origins, people use it to describe a being with no physical form, a nightmare, or a frightening spirit that haunts people at night. Kikimora is a creature that settles in a house and doesn't want to leave, making the lives of people who live there unbearable. People often blame Kikimora for sleep paralysis, nightmares, and any negative effects on food during the night. She was well-known in the territory of Ruś but is also known in several Slavic countries. Her story has also spread to many other countries. Her appearance is usually associated with negative news. In most legends, she is a messenger of evil tidings, but some stories shed a positive light on the spirit. The name "Kikimora" also originates from the frightening sound of the spindle she allegedly wielded, a foreshadowing of a dire or catastrophic circumstance. Kikimora is still known as “mora” in the Polish countryside. Croatian uses the same word, "mora," which translates to "a nightmare." In Serbia, Kikimora is called “mora” or “noćnink” (which sounds very similar to the Polish word ''nocnik,'' meaning ''chamber pot''—which isn't related to the meaning of the Serbian word). In the region of Poland called Kashuby (and in the Slovak language), Kikimora is also known as Mora. Most of these languages also have a form of "mara" that corresponds to a more attractive version of Kikimora. Sometimes she appeared as an incredibly beautiful young woman. People believed she visited men in their dreams, tormenting them with desires and destroying their relationships with real women. She would also infiltrate the dreams of women, presenting them with images designed to incite jealousy and suspicion that their men were favoring other women. Even today, when people in Slavic countries wake up due to a nightmare, they say harsh words to the mora or mara who caused their unpleasant dreams. It is believed that Kikimora travels at night between rooms using a keyhole, so some people try to close doors carefully and put keys or pieces of paper in the holes. Nobody should look Kikimora in the eyes, so children were always taught to look at their pillows or windows if they thought she was in their rooms. If they heard Kikimora, they were told to never look at doors, chests, wardrobes, etc. because those are places where she was said to like to hide. Polish folklore also knows Domowicha, who is a protective spirit.
However, sometimes Kikimora seems to connect the negative and good sides. Domowicha could also look like a deceased family member, but she represents a spirit who helps the living. Domowicha appears to embody the positive aspects of Kikimora. Understanding that human imagination created the role spirits play in folklore is crucial. The legend of Kikimora and Domowicha may have originated from people's spiritual experiences, yet the human mind still shapes the interpretation of these events. The Russians have a slightly different understanding of the two Kikimoras. One Kikimora is known as a forest spirit, and her husband is Domovoi. The second Kikimora is from the swamp and is Leshy’s wife. The second one leaves wet footprints on the floor of any house she visits. According to Russian beliefs, if the person who ordered the construction of a house was unfriendly to the builders, they could invite Kikimora to the new house. An invitation makes it hard to get rid of her later. The story of Kikimora survived in many texts, and she became an inspiration for novels and poems. For instance, Anatoly Lyadov penned a poem named Kikimora specifically for the orchestra. He described Kikimora as having grown up with magical powers in the heart of the mountains. Lyadov wrote that she came from ancient times and lived in a crystal cave. In this text, she appears less scary but more like a fascinating supernatural creature, which may be good or bad…but certainly interesting.
NOCNITSA—SLAVIC MYTHOLOGY
The Nocnitsa, or "Night Hag," in Polish mythology, is a nightmare spirit that also goes by the name Krisky or Plaksy. The Nocnitsa is also present in Russian, Serbian, and Slovakian folklore. The Nocnitsa is known to torment children at night, and a stone with a hole in the center is believed to provide protection from her. Mothers in some regions will place a knife in their children's cradles or draw a circle around the cradles with a knife for protection. This may stem from the belief that supernatural beings cannot come into contact with iron. The Night Hag is known to sit on your chest, drawing your life energy until you are unable to continue (this is why many refer to Nocnitsa as a type of vampire), after which she will continue to visit. To stop the Night Hag, you have to fight back and not give in to her. Many people believe that the Night Hag visits you when you sleep on your back with your hands on your chest. We refer to this as sleeping with the dead. The eerie red glow of her eyes and the horrible screech of her voice, as well as the shadowed part below her waist, are the most noticeable features of the night hag. Her smell is of moss and dirt from a forest said to be where she lives, and at times her stench can infiltrate your dreams or linger in the room after her visit. She is also known as a demonic spirit who feeds off your darkness (namely, depression and sadness); this makes the night hag stronger, and more powerful and makes her harder to get rid of. She is known in Bulgaria as Gorska Makua. The Night Hag is almost certainly linked to the common apparition seen during the hypnagogic state of sleep.
BAKU—JAPANESE MYTHOLOGY
They were crafted from spare pieces left over after the gods created all other animals. They devour nightmares, but if not satisfied, they will consume dreams and hopes too. Baku (獏 or ばく) are Japanese supernatural beings that devour dreams and nightmares. They have a long history in Japanese folklore and art and more recently have appeared in Japanese anime and manga.
The Japanese term Baku has two current meanings, referring to both the traditional dream-devouring creature and the zoological tapir (e.g., the Malayan tapir). The depiction of Baku has undergone changes in recent years. Baku is also a Japanese name. The baku is a strange holy beast that has the body of a bear, the head of an elephant, the eyes of a rhinoceros, the tail of an ox, and the legs of a tiger. People revere Baku as a powerful force of good and as one of the holy protectors of mankind, despite their monstrous appearance. Baku watches over humans and acts as guardian spirits. They feed on the dreams of humans—specifically negative dreams. Evil spirits and yokai fear baku and flee from them, avoiding areas inhabited by them. Therefore, health and positive luck follow Baku wherever it goes. Throughout Japanese history, talismans and charms have used Baku's written name and image as symbols of good luck. In the old days, it was even common to embroider the kanji for Baku onto pillows in order to keep negative dreams, sickness, and evil spirits away.
People commonly carve fearsome Baku images into the pillars above temple doors and on the columns supporting temple roofs. Only a handful of holy creatures are frequently honored in this manner. The traditional Japanese nightmare-devouring Baku originates in Chinese folklore and was familiar in Japan as early as the Muromachi period (14th-15th century). Hori Tadao has described the dream-eating abilities attributed to the traditional Baku and relates them to other preventatives against nightmares, such as amulets. Kaii-Yōkai Denshō Database, citing a 1957 paper, and Mizuki also describe the dream-devouring capacities of the traditional baku. An early 17th-century Japanese manuscript, the Sankai Ibutsu (山海異物), describes the baku as a shy, Chinese mythical chimera with an elephant’s trunk, rhinoceros eyes, an ox tail, and tiger paws, which protected against pestilence and evil, although eating nightmares was not included among its abilities. However, a 1791 Japanese woodblock illustration depicts a specifically dream-destroying Baku with an elephant's head, tusks, and trunk, adorned with horns and tiger's claws. The elephant’s head, trunk, and tusks are characteristic of the baku portrayed in classical era (pre-Meiji) Japanese woodblock prints (see illustration) and in shrine, temple, and netsuke carvings. During the Meiji era, Lafcadio Hearn (1902) described a Baku that possessed similar attributes and had the ability to devour nightmares. Legend tells us that the gods assembled the Baku from the leftover bits and pieces at the end of creation when the world was new and they were creating the animals. This explains its peculiar appearance and the gods' fondness for it. Today, the Japanese word Baku also refers to the tapir. People named the animal after its uncanny resemblance to this holy chimerical beast.
KITSUNE—JAPANESE MYTHOLOGY
Kitsune is both the Japanese word for fox and a term referring to a mythical fox with supernatural abilities. It’s a kind of yokai (supernatural being). As an ordinary fox, kitsune looks like the regular animal we see in the forest or on television. However, the mythical version of the creature is much different. It resembles a fox with slightly human features. Its muzzle, ears, paws, and fangs are all fox-like. The kitsune typically possesses more than one furry tail. The more tails a fox has, the longer it has lived. The maximum number of tails a kitsune can have is nine. Hence, a nine-tailed fox has reached its peak in terms of cunning and intelligence, having lived for so many years. The kitsune is far from being a friendly fox spirit. Folklore often depicts him as attempting to outsmart humans. Hence, the kitsune is a trickster and a beneficial one too. Its tricks range from mischievous pranks to malevolent acts. According to Japanese mythology, the kitsune possesses a wide variety of supernatural abilities, including transforming into human form (shapeshifting), flight, incredible strength, long life, and pyrokinesis. Shinto religious beliefs say that the kitsune is a messenger of Inari, the Shinto god of rice. The mythical kitsune is one of the creatures most associated with the duality of nature in Japanese folklore. Common depictions refer to their deceitful nature. It tricks humans for selfish reasons, bringing misfortune, pain, or even death to victims. On the other hand, the kitsune can also be a protective deity and trusted messenger of Inari. And no, that is not part of an elaborate ruse. The creature genuinely has a dual nature.
Despite the existence of approximately 13 distinct types of kitsune, we can categorize them as either good or evil based on their elemental makeup. Zenko (善狐) -> good fox; she is the messenger of the goddess Inari, the deity of agriculture, fertility, and good luck. Shinto shrines and temples commonly feature a statue of Kitsune at their entrances, serving a protective role. Kitsune can move from the human to the spiritual world to communicate with the goddess Inari. Artists depict sacred foxes holding a magical white ball in their mouth or tail, an ornament known as "hoshi no tama".
Or with a star-shaped object. Yako (野狐) -> wild fox, can behave maliciously, attacking farmers' homes and destroying crops at night. Ninko (人 狐), a fox spirit that is invisible, is visible only to people who have been possessed by it.
Japanese mythology features thirteen different types of Kitsune.
Tengoku (Heaven) 天国
Kukan (Dark) 区間
Kaze (Wind) 言う
Seishin (Spirit) 精神
Kasai (Fire) 火災
Chikyu (Earth) 血キュ
Kawa (River) コーヒー
Umi (Ocean) 海
Yama (Mountain) 山
Mori (Forest) 森
Sanda (Thunder) 砂
Jikan (Time) 時間
Ongaku (Sound) 音楽
In some Japanese legends, kitsune foxes develop human skills, learn to speak, and transform into a beautiful woman or man. Many kitsune use the female form to visit spring festivals and enjoy the company of men. Their goal is to find and marry rich men while keeping their human form forever. One of the main characteristics of Kitsune is the ability to keep promises made to humans by using magical powers in favor of the companion. Therefore, in ancient Japan, they called women with ambitious and strong behavior "kitsune." In the spiritual form, kitsune can possess people or enter their dreams through nails. The most common legends speak of kitsune with one, five, seven, or nine tails. Every 100 years of age, a kitsune grows a new tail; she becomes smarter, her magical powers increase, and she can transition from human to spiritual form and vice versa. Reached the maximum 9-tailed milestone, the kitsune transforms into the famous 9-tailed fox "Kyuubi no kitsune" (九尾 の 狐) and changes its color to white or gold. "Kyuubi no kitsune," the thousand-year-old fox, has divine status and can see and hear all things happening in the world. It can also emit fire, known as "kitsune-bi," from its mouth or tail. If the nine-tailed fox turns evil, it can pose a significant threat to the world. The fury of Kitsune, the nine-tailed fox demon, is responsible for numerous natural disasters like earthquakes, fires, and windstorms. For some kitsune, it is very difficult to hide the tail, which sometimes jumps out from under the clothes. Water always reflects the true form of kitsune. Kitsune is so afraid of dogs that, even in human form, he transforms into a fox and flees.
SANDMAN—SCANDINAVIAN FOLKLORE
The Sandman infuses magical dust into the children's sleep and dreams. In more sinister tellings of the story, the Sandman steals the eyes of children who will not sleep. The Sandman is a traditional character in many children's stories and books. According to Scandinavian folklore, the Sandman sprinkles sand or dust on or into children's eyes at night to induce sleep and dreams. The grit or "sleep" (rheum) in one's eyes upon waking is the supposed result of Sandman's work the previous night.
PHOBETOR—GREEK MYTHOLOGY
Phobetor, also known as Icelus, was one of the Oneiroi, the personifications of dreaming. He is also the triplet brother of Morpheus, the god of dreams, and Phantasos, the god of surreal dreams or fantasy. Despite appearing as a humanoid winged daemon in various sculptures, Phobetor lacks a true physical form. However, this was the closest representation of Phobetor's true physical form. In nightmares, Phobetor would continuously shift into numerous forms, ranging from earthly animals to nightmarish beasts. When Phobetor assumes an animal form, it typically instills a sense of comfort and relaxation in the dreamer, but when he transforms into a monster, it plunges the human into an immediate state of terror. Phobetor is the son of Nyx, the primordial goddess of the Night, with Erebus, the embodiment of Darkness. Phobetor could take on numerous animal forms to interact with mortals in the waking world. Phobetor, the god of nightmares, derives his name from the Greek word "phobos," which signifies fear or terror, reflecting his domain and influence. As the god of nightmares, Phobetor is believed to have the ability to shape and manipulate dreams, particularly those that evoke fear and terror. He is known for appearing in the dreams of mortals, bringing forth terrifying and unsettling visions. Phobetor’s presence is often associated with nightmarish creatures, dark landscapes, and frightening scenarios. Sometimes, artists depict Phobetor as a winged deity or as a shadowy figure, seamlessly merging with the darkness. His role in dreams is to incite fear and provoke strong emotions, creating an atmosphere of terror and anxiety for those who experience his presence. While Phobetor primarily focuses on the creation of nightmares, he is not inherently evil. People view his actions as a natural part of the human psyche and the realm of dreams. In some accounts,
Phobetor is considered the messenger and servant of Morpheus, the god of dreams, further emphasizing his role in the dream realm. Greek mythology does not extensively detail Phobetor's individual stories and interactions with other gods, yet his personification of fear in dreams continues to hold a significant influence. Throughout history, literature, art, and popular culture have referenced his name and concept as a symbol of nightmares and the darker aspects of the dream world. Rather than engaging in physical battles or wielding traditional weapons, Phobetor's power stems from his domain over the realm of dreams and his role in manipulating emotions and creating nightmares. Therefore, we often portray him without any specific weaponry. Instead, the unsettling and frightening dreamscapes he weaves symbolize his presence and influence, evoking fear and terror in those who experience his visions. Phobetor is often considered one of the sons of Hypnos, the god of sleep, and his wife, Pasithea, who is one of the Graces (Charites). People generally recognize Hypnos and Pasithea as the parents of various dream-related deities, including Phobetor.
Phobetor’s siblings include his brothers Morpheus and Phantasos, who are also associated with dreams and have specific roles within the realm of dreams. Morpheus is the god of shaping dreams, while Phantasos is the god of surreal and deceptive dreams. People often refer to Phobetor, Morpheus, and Phantasos as the Oneiroi, a collective term that symbolizes the diverse aspects of dreams and the gods associated with them. Some myths say there are as many as 1,000 Oneiroi, but none are as prominent as Phobetor and his brothers Morpheus and Phantasos. Despite the lack of a dedicated mythological tale, Phobetor's name and concept persist in literature, art, and popular culture, symbolizing the dark and unsettling aspects of dreams. As a deity associated with dreams and nightmares, Phobetor plays a supporting role rather than a central one in specific myths or events. Phobetor’s significance lies in his domain and influence over the dream realm, particularly in the creation and manipulation of frightening dreams and nightmares. People acknowledge his presence and abilities as a natural part of the human experience, reflecting the power of dreams to evoke emotions and fears.
MELINOE - GREEK MYTHOLOGY
Melinoe’s name is as mysterious as her very nature. Her name, "dark-minded" or "black thought," derives from the Greek words "melas" (black) and "nous" (mind). This etymology perfectly encapsulates her association with the night and the haunting spirits that roam in the darkness. In Roman mythology, there isn’t a direct counterpart to Melinoe, which makes her uniquely Greek. Over time, people have attributed various epithets and alternative names to Melinoe, but none have achieved the same prominence as her original name. Diving into the origins of Melinoe, we find a tale of deception and intrigue. Born to Zeus and Persephone, Melinoe’s conception is a story of Zeus disguising himself as Hades, Ruler of the Underworld, Giver of Wealth, Persephone’s husband, to be with her. This act of deception resulted in the birth of Melinoe, a goddess with a dual nature, reflecting both the chthonic realm of her mother and the celestial domain of her father. Her childhood remains shrouded in mystery, but her role as a Daemon (spirit) is clear. She is the personification of the nightmares and madness that spirits can inflict upon mortals, bridging the gap between the living and the dead.
The intricate tapestry of Greek mythology often presents us with overlapping identities and shared attributes among its deities. One such intriguing connection is between Melinoe and the more widely recognized goddess, Hecate. Both Melinoe and Hecate oversee mysterious realms, with their domains frequently intersecting in the realm of spirits, night, and the unknown. Hecate, known as the goddess of magic, crossroads, and the moon, has a long-standing association with the underworld and the spirits that inhabit it. Her role as a guardian of thresholds and liminal spaces mirrors Melinoe’s nightly wanderings, where she guides the spirits of the departed. The belief that Melinoe might be another manifestation or epithet of Hecate stems from their shared attributes. Both are often associated with torches, symbolizing guidance in the darkness. Their dominion over spirits and their ability to traverse between the realms of the living and the dead further strengthen this connection. However, while their roles in the pantheon of Greek deities might overlap, they also have distinct identities.
Melinoe’s birth story, her parentage, and her specific association with nightmares set her apart from Hecate. On the other hand, Hecate’s broader roles in magic, her status as a Titan, and her more extensive worship and representation in ancient texts and rituals give her a distinct place in Greek mythology. Melinoe’s ethereal nature and her role in the underworld meant that she didn’t engage in romantic relationships like many other gods and goddesses. Instead, her connections were primarily with the spirits she presided over and the deities of the underworld. As a goddess who roamed the realms of spirits and nightmares, Melinoe did not have any offspring, neither divine nor mortal. Melinoe's essence intertwined more with the spirits she governed than with creating a lineage of her own. Artists often depict Melinoe as a young woman, with half of her body pale and the other dark, symbolizing her dual nature and her connection to both the celestial and chthonic realms. Common symbols associated with her include the crescent moon, symbolizing the night, and torches, representing the light that guides spirits in the darkness. Despite her eerie domain, Melinoe wasn’t inherently malevolent. She was a guardian of spirits, guiding them through the night. Despite her association with nightmares and madness, the Ancient Greeks often viewed her with a mix of fear and reverence. Melinoe possessed the unique ability to roam both the world of the living and the dead. She could summon and control spirits, inducing visions and nightmares in mortals. Her presence alone could cause an eerie chill, and she had the power to bring forth the ghosts of the deceased, making them visible to the living. The crescent moon is a primary symbol for Melinoe, representing her dominion over the night. Torches are another symbol, signifying guidance in the dark realms she frequented.
Melinoe’s primary role was to guide the spirits of the dead during the night. She would roam the earth, accompanied by a host of ghosts, ensuring they did not harm the living. Additionally, she was the embodiment of nightmares, bringing forth visions and dreams that could both terrify and enlighten mortals. Her responsibilities also included maintaining the balance between the world of the living and the realm of the dead, ensuring that neither was disrupted by the other. Melinoe’s myths primarily revolve around her nightly wanderings and her interactions with spirits. In one such tale, the sight of her ghostly procession drove a mortal to madness. Yet, in his insanity, he gained prophetic abilities, showcasing the dual nature of Melinoe’s influence. Although Melinoe's worship may not have been as widespread as that of other deities, she held sacred places. Her presence was strongest at these sites, often at crossroads or near burial grounds. People performed rituals and offerings to placate her, hoping she would steer the spirits away from the living. Melinoe rarely appears in artistic representations, but when she does, it's often in her distinctive half-light, half-dark appearance. Ancient pottery might show her guiding spirits or holding torches, emphasizing her role as a guardian of the night. The "Orphic Hymns" primarily mention Melinoe as a "saffron-cloaked goddess of the underworld," highlighting her role in guiding spirits and her connection to both Zeus and Persephone.
PESANTA - CATALAN FOLKLORE
The Pesanta is a monster from Catalan folklore, described as an enormous, heavy, black, and hairy dog (some few versions describe it as a cat) with steel paws that it uses to hit anybody who finds itself in its way; those paws are holed, making it impossible for the creature to grab something. Some parts of Catalonia identify the Pesanta as a witch or as an undefined animal creature. It's also unknown if that creature is male or female. The Pesanta live in abandoned churches or other ruins and creep every night into people's homes, entering through the keyholes, under the doors, and even filtering across the walls; then it sits on their chests, giving them breathing problems and nightmares. It's challenging to spot the Pesanta because, if someone wakes up in front of it, it will flee so quickly that all they will see is a shadow running away. Some ways to avoid this creature are to spread some millet on the threshold of your bedroom, place a broom next to your bed, or pronounce some words that will force it to count all the stars in the sky. People often compare the image of the Pesanta to the phenomenon of sleep paralysis, which causes victims to wake up but unable to move and to experience feelings akin to hallucinations.
SUCCUBUS - MEDIEVAL FOLKLORE
Medieval European mythology, legend, and folklore first recorded the origins of the succubus. Specifically, the renowned Malleus Maleficarum (Hammer of the Witches or Witches' Hammer), a 1486 publication, contains the earliest references to its existence. In the past, people often blamed succubi, whether rightly or wrongly, for sexual attacks on the community's men and boys, regardless of whether they were scoundrels or otherwise "moral" and "upstanding." And despite the undoubted momentary physical pleasure of the experience, sexual encounters with succubi actually carried with them a stigma of tremendous shame. The name "Succubus" or "Succuba" itself comes from the Latin "succuba," meaning "whore/prostitute" or "concubine" (a combination of the Latin "sub," meaning "under," and "cubare," meaning "to lie," denoting a submissive sex partner or, at least, a sexual partner of the fairer gender). The succubus is the female counterpart of the male night demon, the incubus. Since SuccubI are shapeshifters, their appearance often varies. Some like to take a more human appearance, while others retain a fully demonic mien (horns, wings, tail, etc.). Some even combine the two natures. Regardless of the changes in their appearance, a succubus always maintains a stunning physical presence.
Ugly succubae are so rare that many people believe they only adopt ugly appearances to frighten and attack foes. Even in their normal form, most succubi are extremely beautiful. And Succubus is highly fashionable. Often, they wear very luxurious fabrics, beautiful to look at and pleasant to the touch. Likewise, their fashions are typically sexually provocative, hinting seductively at their perfect physiques. That is when they decide to wear any clothes at all. Succubus behavior is based primarily on its sexuality. Their nature is cunning, decadent, and manipulative, and they are constantly searching for potential male prospects. Not one of them is a virgin, celibate, or monogamous. Though each has her own approach. Some are reclusive, disdaining social company and preferring the most guarded secrecy until the mood suits them to feed or engage in other pursuits. Others prefer to interact with potential prey in more gregarious settings, like in parties and brothels (as sex workers or as patrons), to feel out the people to whom they feel the greatest attraction. However, succubus has little respect for men. Apart from going out to rape men as they please, succubus often keep a harem of runaways or sex workers waiting at their lair. They take care of and entertain the manipulative succubus, often putting up with any change in mood in exchange for just one more night of erotic pleasure. Ironically, elder Succubus are incapable of reproducing (some accounts even remark on the coldness of the succubus' vagina).
The only means by which they may produce children is to sleep with a man, collect his semen, shapeshift into an incubus, and deposit the man's semen into a woman. The creature's touch taints the child, a Cambion, born from the union of sperm and egg. Alternately, a non-shapeshifting Incubus and Succubus work together; the Succubus mates with a human male collects the semen, and passes it on to a non-shapeshifting Incubus, who deposits it into a human female during copulation. Moreover, while it is not unheard of for a succubus to be homosexual or bisexual, Succubi have a strong dislike for other females, including their own. This often prevents them from even being friends, let alone lovers. Some simply find subjects of the same gender unappealing and sexual intercourse with them unpleasant, while others cannot engage sexually with the same gender for fear of death. Succubi possess various abilities, including hypnotic charm, natural tail, weapons, claws, horns, wings, peak condition, sexual perception, vampirism, immortality, rapid regeneration, superhuman durability, strength, shape-shifting, astral form, hypnotic beauty, Incubi form, and subliminal sexuality. These abilities allow them to channel hypnotic power through gestures and social interactions, as well as psychically detect sexual phenomena, absorb libido, and potentially live forever. They also possess superhuman strength, durability, and the ability to psychically impart sexual feelings.
BAKHTAK - PERSIAN FOLKLORE
Picture this, if you will: a figure as nebulous as the night itself. In form, the Bakhtak resembles a shadow, but not the harmless silhouette a tree might cast on a quiet street. This shadow has weight and substance—a dark density that makes the air around it feel thicker as if you’re trying to breathe through a woolen blanket. When it manifests, it typically appears as a shadowy, amorphous figure, bearing down upon you with a weight so palpable that it can induce the unmistakable feeling of chest pressure. One might argue that it embodies the corporeal essence of dread. Those who have experienced Bakhtak visits say it sits on the soul, not the chest. The origin of the Bakhtak is as mysterious as the creature itself, an enigma shrouded in the annals of Persian folklore. Primarily, it’s known for causing nightmares and sleep paralysis. But why, you ask? Ah, the heart of Persian myths rarely deals in the trivialities of ‘why,’ but rather the complexities of ‘is.’ Its existence and purpose serve as a reminder of the precarious balance between the realms of the known and the unknown, the waking world and the land of dreams, favorable fortune, and imminent calamity. Let's now delve into the most popular story about the Bakhtak. In the ancient city of Persepolis, where kings once dreamt of eternal rule, a humble weaver named Kurosh experienced a series of nightly visitations. Each night, as Kurosh laid his head to rest after a long day of labor, he found himself imprisoned in his nightmares, crafted meticulously by the Bakhtak. From labyrinthine mazes to bottomless pits, Kurosh faced terrors beyond mortal comprehension. It was only after seeking the wisdom of a local soothsayer that Kurosh managed to escape his nocturnal torments. He placed an amulet, infused with the essence of sweet dreams, under his pillow. The Bakhtak, finding itself unable to pierce through the amulet’s aura, eventually retreated into the depths of folklore, though it never truly vanished. When it comes to abilities, the Bakhtak has a singular, focused expertise: it induces nightmares. It need not touch you, nor speak incantations. Its mere presence, its weight upon your chest, is enough to lead your sleeping mind down twisted corridors of fear. Yet, despite its seemingly unstoppable nature, the Bakhtak has its limitations. Certain talismans or amulets, often of a religious or magical nature, appear to repel the creature. It’s as if the concentrated essence of positive energy acts as anathema to this being, which thrives in the soil of human fears.
PANDAFECHE - ITALIAN FOLKLORE
An evil witch or a terrifying cat-like creature can induce sleep paralysis.
If the Popobawa is a demon of social instability, the Pandafeche of Italian folklore is a more intimate nightmare, weaving terror into the mundanity of domestic life. From rural Tuscany and Umbria, the Pandafeche is described varyingly as a ghostly woman or cat-like animal (another good example of how folklore stories mutate through time), and its presence is always accompanied by a heavy, suffocating weight on the chest. The superstitious regarded the Pandafeche as a real threat, a source of nightmares and bad luck. Families would place a broom across the bed to ward off this spectral intruder, believing it would compel the Pandafeche to count the broom's bristles and leave the sleeper in peace (the original counting sheep?). People also believe that the Pandafeche is territorial and vindictive, pursuing those who dare to disturb the harmony of the home or violate certain taboos. Most people will link this figure to the scientifically explained concept of sleep paralysis. However, in rural parts of Italy, there are persistent whispers of the Pandafeche, linking modern explanations to a creature long feared in the shadows of Italian folklore.
PISADEIRA - BRAZILIAN FOLKLORE
Pisadeira is a legend of Brazilian folklore, very popular in the interior of the states of Minas Gerais and São Paulo. Considered the personification of the nightmare and associated with sleep paralysis disorder, Pisadeira is described as a very thin woman with long and dirty nails on very long and dry fingers, tangled white hair, red and wide eyes, short legs, a big hairy nose, greenish teeth, and a large chin turned upwards. As if her figure itself wasn't horrifying enough, she also has a high-pitched, constant laugh. If you are unlucky enough to meet her one day, you will notice that Pisadeira always has her mouth open and her evil eyes wide open. Pisadeira spends most of his time on the roofs of houses, observing the movement inside. After dinner or supper, when someone sleeps with a full stomach, Pisadeira then takes action, leaving her hiding place and stepping on their chest, whose remains are in a state of paralysis, but they still manage to follow everything consciously, which brings them great despair, because there's nothing they can do to get out of the situation. Like most folkloric legends, Pisadeira appears to attempt to explain a situation for which there is no rational explanation. Thus, the legend of Pisadeira emerged as a response to the need to understand the origin of nightmares or sleep paralysis. We created a character to answer these questions, as it was challenging to explain this type of sleep interruption, which could involve the visualization of a frightening creature.
THE OLD HAG—ENGLISH FOLKLORE
A "night hag" or "the old hag" was a nightmare spirit in English and Anglophone North American folklore. This variety of hag is essentially identical to the Old English mæra—a being with roots in ancient Germanic superstition and closely related to the Scandinavian mara. According to folklore, the Old Hag sat on a sleeper's chest and sent nightmares to him or her. When the subject awoke, he or she would be unable to breathe or even move for a short time. In the Swedish film Marianne (2011), the main character suffers from such nightmares. We now refer to this state as sleep paralysis, but in the old belief, the subject was considered "hagridden." People still frequently discuss it as if it were a paranormal state. People often use stories about hags to scare children into being good. In Northern England, for example, Peg Powler was a river hag who lived in the River Tees and had skin the color of green pond scum. Parents who wanted to keep their children away from the river's edge told them that if they got too close to the water, she would pull them in with her long arms, drown them, and sometimes eat them. Other regional names for this type of nixie or neck include Grindylow, a name associated with Grendel, Jenny Greenteeth from Yorkshire, and Nelly Longarms from several English counties. Many tales about hags do not describe them well enough to distinguish between an old woman who knows magic, a witch, or a supernatural being.
ALU - SUMERIAN MYTHOLOGY
The Alû, a mysterious demon in ancient mythologies, is a manifestation of pure, undiluted dread that emerged from the collective fears of an ancient people. Often portrayed as a faceless, winged entity with the sturdy feet of an eagle, its true menace lies in its intangibility. The Akkadian, Assyrian, and Babylonian mythologies, where they share tales of gods, mortals, and creatures, are the origins of the Alû. The Alû's methods are more insidious than mere terror. It ensnares victims in a relentless loop of nightmarish visions, tightening their grip and casting them deeper into the abyss of fear. This connection can lead to maddening results, as victims often report a continuous feeling of dread and an unshakable feeling that they are not alone. Over time, the pressure can be too much to bear, leading to despair, madness, and distress for those who do not find a way to sever the Alû's connection. However, the Alû has its weaknesses. Its formless, elusive nature is both its greatest strength and its ultimate vulnerability. Calling out the Alû can weaken its hold and eventually drive it away, as it cannot tolerate acknowledgment, recognition, and name. In the realm of ancient myths, where reality and dreams are intertwined, it is crucial to exercise caution, as the Alû could lurk, poised to haunt the next unsuspecting soul. In Akkadian and Sumerian mythology, the Alû is associated with other demons, such as the Gallu and the Lilu.
BATIBAT - PHILIPPINES MYTH
In Ilocano tradition, the Batibat, also known as Bangungot, is a vengeful demon that produces "bangungot," a deadly nocturnal illness that induces nightmares. A batibat typically inhabits trees and assumes the shape of a large, elderly, obese woman. People came into contact with her when they felled the tree where she lives and used it as a home support post. If this occurs, the batibat will retreat into the holes in the post. The batibat targets anyone sleeping near its post. The batibat changes back into its former form and attacks anyone who sleeps close by. It rests on its victim's chest till he suffocates.
One should twitch their toes or bite their thumb to ward off the batibat. This helps the batibat victim wake up from its nightmare.
Comments