Behind the Scenes of THE JÖTUNN WAR with Ian Stuart Sharpe

Welcome to the Vikingverse.

“In the beginning, God created the heaven and the earth.”

See, that’s where Christianity has it all wrong. All good Norsemen knew the real story of how it all began. The same way it will all end: with giants.

This guest post from author Ian Stuart Sharpe gives us some insights into the origins – and cataclysmic ending – of his own creation, the Vikingverse.

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The idea for the Jötunn War comics came out of a discussion with my publisher Outland Entertainment. We'd just released the All Father Paradox novel, which told the story of an alternate timeline where Christianity had been put to the Viking Sword, and history as we know it was thrown to the wolves. A key part of the pagan present was an analog to the last century's World Wars, seismic struggles where the old order was swept away in tides of blood and destruction. I had alluded to the titanic struggle in the novel, but we decided that the best way to really bring it to life was to create a comic version. Comics are a great medium for telling war stories and really doing justice to the mayhem. So, as the tagline says, it was a case of Go Big or Go Heim – it was time to invest in a grand tapestry! So, why involve the Jötnar? In a world shorn of Adam and Eve – not to mention Heaven and Hell – there is a very different origin myth that informs the Norse worldview. For those of you not well-versed in Norse mythology, it goes a little like this: Ginnungagap was the great emptiness before there was the world, flanked by two inhospitable realms. There was Muspelheim, crossed by endless rivers of boiling poison and vast lakes of fire; and Niflheim, where icy volcanoes spewed forth frozen mists and arctic waters. Sparks and smoke met layers of rime and frost in the yawning void and from them came the first being. A Jötunn, Ymir, appeared in the melting ice. From his sweat, the first Jötnar were born. Ymir fed on the milk of the primeval cow Auðumbla, also born of the meltwater. She licked the blocks of salty ice, releasing Búri, who was large, powerful, and beautiful to behold. In time, Búri’s son Borr had three sons: the gods Óðinn, Vili, and Vé. The three sons of Borr had no use for Ymir and his growing family of cruel and brutish giants, so they attacked and killed him. So much blood flowed from the body that it drowned all the other giants except for two—Bergelmir and his wife escaped. They stole away in a hollowed-out tree trunk, a makeshift boat floating on the sea of gore to safety, to a land they named Jötunheim, home of the giants. From Ymir’s body, the brothers made the world of humans: his blood, the seas and lakes; his flesh, the earth; his bones, the mountains; and his teeth, the rocks. From his skull, they made the dome of the sky, setting a dwarf at each of the four corners to hold it high above the earth. They protected the world from the Jötnar with a wall made from Ymir’s eyebrows. Next, they caused time to exist and placed the orbs of the sun and moon in chariots, which were to circle around the sky. Finally, the three brothers built their own realm: Ásgarð, a mighty stronghold, with green plains and shining palaces high over Miðgarð. They built the rainbow bridge Bifröst to link the realms. The Æsir, the guardians of men, crossed over the bridge and settled in Ásgarð. There the gods would dwell, ever vigilant, until Ragnarok, the long-heralded last battle, when the monstrous Jötnar set about destroying the entire cosmos. Fenrir, the great wolf, consumes the world so swiftly that even the sun is dragged from its zenith and into the beast’s stomach.

The Jötnar have a pivotal role in Norse mythology. To the men of the North, the Jötnar had the power of oncoming storms, roaring volcanoes, and the clamorous oceans—in some sense, they were the personification of the merciless and indifferent power of Nature. They were the sires of the gods, their spouses and lovers, their constant foes, and their inevitable doom. And while the Jötnar are described as a race of beings distinct from the gods — as well as other creatures such as humans, elves, and dwarves — they are somewhat ambiguously described, both in their physique and their character. Some Jötnar, such as Skrymir (who is known also as Útgarða-Loki), are depicted as a being of immense size, thus giving rise to the translation of the word “Jötunn” into English as “giant.” Some Jötnar, such as Skaði, were said to be extremely beautiful; in the Poetic Edda poem Grímnismál, Odin mentions the “ancient courts” of Þrymheimr, noting that the Jötunn Þjazi once lived there, and that now his daughter Skaði does. Odin refers to Skaði as "the shining bride of the gods” and in some tales, the pair go on to marry and give birth to nations of kings. Some scholars go so far as to suggest that Scandinavia may be related to the name Skaði (potentially meaning “Skaði's island”). Other Jötnar were hideous. It is told in Snorri Sturluson's Gylfaginning that at Baldr's funeral his wife Nanna died of grief and was placed alongside him on his pyre. Hringhorni, Baldr's ship, was the largest of all such vessels and was to serve as the god's funeral ship. No one, however, could seem to launch the boat out to sea. The gods then enlisted the help of Hyrrokkin (“fire-withered”), who came from Jötunheimr, arriving on a giant wolf with vipers as reins. When she dismounted, Odin summoned four berserks to look after the animal, but they were unable to control it without first rendering it unconscious. With her seismic strength, the giantess rolled the boat into the water. In the Vikingverse, these stories and characters are more than just ancient myth. In the way that the Bible forms the daily bread of many devout Christians, the Jötnar are part of the fabric of society and its belief system.

Let me give you an example: We were all horrified by the 2019 fire at Notre Dame. Social media was full of people’s personal memories, their own connection with the great stone cathedral and all its relics. We all felt a sense of profound loss. Suddenly, the gargoyles on the roof were leering out of memory, all across the internet. Not bad for a beast used by the Catholic Church to illustrate evil. French legend tells of St. Romanus, bishop of Rouen, who delivered the country from a monster called Gargouille. La Gargouille is said to have been the typical dragon with bat-like wings, a long neck, and the ability to breathe fire from its mouth. Multiple versions of the story are given, either that St. Romanus subdued the creature with a crucifix, or he captured the creature with the help of the only volunteer, a condemned man. In each, the monster is led back to Rouen and burned, but its head and neck would not burn due to being tempered by its own fire breath. The head was then mounted on the walls of the newly built church to scare off evil spirits and used for protection. The parallels with the Jötnar are clear. Primeval, indefatigable titans who tread heavily in our nightmares, the bane of Christianity. Demons to be defeated and cast into the Abyss. Trophies to be mounted on the wall of our proud monuments. Now imagine our world where Christianity had been cast aside, where there was no Mother Church left to determine who was a saint and who was a sinner, no Catholic priests to stem the pagan tide and contain the wild, untrammeled beliefs of the Northerners. Forget Armageddon, Hellfire, and the Antichrist. The world doesn’t end with a bang, or a whimper.

It ends with a horde of unstoppable Jötnar. If you want a truly terrifying End of Days, embrace your inner Viking and back the Jötunn War today!