Fusing Asian mythology with sci-fi, Asura's Wrath seamlessly blends relentless action with an exciting narrative to produce one of Capcom's most unique video game experiences. Asura's Wrath: Official Complete Works collects the imagery and artwork behind this cinematic thrill-ride. Included are character designs, key visuals, storyboards, rough concepts, interviews, and plenty of creator commentary.

Patience is a Drawn Bow. Rage, its Relentless Arrow. Shukracharya’s plan to break the unity of Vikramaditya’s Council has borne bitter fruit. Friends have become sworn enemies, and brother has turned against brother, setting Avanti on the path to self-destruction. Even as Vikramaditya prepares to counter a Huna invasion, a rebellion brews within Ujjayini, while a devious conspiracy is hatched to humiliate him. With Indra’s spies swarming the palace and Shukracharya making a bold bid to take the Halahala, the king is dangerously close to the brink of defeat. Alone and abandoned by those dear to him, fighting to protect his people, trying his best to keep his promise to Shiva, will the samrat rise one last time to defend his love, his city and his honour? As the asura and deva forces muster in a final, desperate gamble to claim the Halahala, The Wrath of the Hellfires brings an explosive conclusion to Vikramaditya’s epic tale of action and adventure. SHATRUJEET NATH is the creator of the runaway national bestseller series Vikramaditya Veergatha, a four-book mytho-fantasy arc which comprises The Guardians of the Halahala, The Conspiracy at Meru, The Vengeance of Indra and The Wrath of the Hellfires. Described as “a new face to Indian mythology” by DNA, Shatrujeet writes for movies and web shows as well. He is also the author of The Karachi Deception, an Indo-Pak spy thriller. “Flawlessly clubs fiction with Indian mythology” —DNA

The Sun and the Serpent: A Contribution to the History of Serpent-Worship by Charles Frederick Oldham, first published in 1905, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.

Sanskrit Non-Translatables is a path-breaking and audacious attempt at Sanskritizing the English language and enriching it with powerful Sanskrit words. It continues the original and innovative idea of nontranslatability of Sanskrit, first introduced in the book, Being Different. For English readers, this should be the starting point of the movement to resist the digestion of Sanskrit into English, by introducing loanwords into their English vocabulary without translation. The book presents a thorough mechanism of the process of digestion and examines the loss of adhikara for Sanskrit because of translating its core ideas into English. The movement launched by this book will resist this and stop the programs that seek to turn Sanskrit into a dead language by translating all its treasures to render it redundant. It discusses fifty-four non-translatables across various genres that are being commonly mistranslated. It empowers English speakers with the knowledge and arguments to introduce these Sanskrit words into their daily speech with confidence. Every lover of India’s sanskriti will benefit from the book and become a cultural ambassador propagating it through routine communications.

This book frequently returns to the theme of duality, particularly in relation to the serpent and the sun. In addition to signifying danger, dishonesty, and death, the serpent also symbolizes rebirth, transformation, and healing. In a similar vein, the sun represents both harshness and destruction in addition to life, energy, and growth. The investigation of this duality implies that knowledge of these two facets is necessary to comprehend both the natural world and the human predicament. The distinction between mythology and historical truth is becoming increasingly hazy, demonstrating how actual occurrences and cultures have shaped myths and legends and how those have, in turn, influenced them. It is argued that myths are more than just fantastic stories; rather, they have deep roots in societal advancements and human experiences. This emphasizes how crucial mythology is to how we perceive the world and ourselves. The book explores the symbolic meanings of the sun and serpent in psychology. Based on Carl Jung's theories of archetypes and the collective unconscious it clarifies why these symbols are so universally recognizable and appealing. The symbols are believed to resonate with deeply ingrained psychological concepts and experiences that everyone shares, making them useful tools for reflection and understanding of behavior in others. Numerous studies conducted in a range of cultural contexts highlight the idea that human belief systems are both universal and diverse. The book provides examples of how various societies have integrated and understood the symbols of the sun and the serpent in ways that are particular to their own historical settings and cultural norms. This demonstrates the diversity of human expression in culture and the interdependence of human societies.

In sixteen chapters devoted to avant-garde contemporary American poets, including Kenneth Goldsmith, Adeena Karasick, Tyrone Williams, Hannah Weiner, and Barrett Watten, prolific scholar and Purdue University professor Daniel Morris engages in a form of cultural repurposing by “learning twice” about how to attend to writers whose aesthetic contributions were not part of his education as a student in Boston and Chicago in the 1980s and 1990s when new formalism and post-confessional modes reigned supreme. Morris’s study demonstrates his interest in moving beyond formalism to offer what Stephen Fredman calls “a wider cultural interpretation of literature that emphasizes the ‘new historicist’ concerns with hybridity, ethnicity, power relations, material culture, politics, and religion.” Essays address from multiple perspectives—prophetic, diasporic, ethical—the vexing problems and sublime potential of disseminating lyrics—the ancient form of transmission and preservation of the singular, private human voice across time and space—to an individual reader, in an environment in which e-poetry and digitalized poetics pose a crisis (understood as both opportunity and threat) to traditional page poetry.

The epic tale of victory and defeat... The story of the Ramayana had been told innumerable times. The enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, is known to every Indian. And in the pages of history, as always, it is the version told by the victors, that lives on. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell? The story of the Ravanayana had never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed outcastes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak. "For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor's tale, the Ramayana. Now hear the Ravanayana, for I am Ravana, the Asura, and my story is the tale of the vanquished." "I am a non-entity-invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama - the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser." The ancient Asura empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour-Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With a will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed for them. It is when that Ravana, by one action, changes the history of the world.

THE MAHABHARATA ENDURES AS THE GREAT EPIC OF INDIA. But while Jaya is the story of the Pandavas, told from the perspective of the victors of Kurukshetra; Ajaya is the narrative of the ÔunconquerableÕ Kauravas, who were decimated to the last man. At the heart of IndiaÕs most powerful empire, a revolution is brewing. Bhishma, the noble patriarch of Hastinapura, is struggling to maintain the unity of his empire. On the throne sits Dhritarashtra, the blind King, and his foreign-born Queen Ð Gandhari. In the shadow of the throne stands Kunti, the Dowager-Queen, burning with ambition to see her firstborn become the ruler, acknowledged by all. And in the wings: Parashurama, the enigmatic Guru of the powerful Southern Confederate, bides his time to take over and impose his will from mountains to ocean. Ekalavya, a young Nishada, yearns to break free of caste restrictions and become a warrior. Karna, son of a humble charioteer, travels to the South to study under the foremost Guru of the day and become the greatest archer in the land. Balarama, the charismatic leader of the Yadavas, dreams of building the perfect city by the sea and seeing his people prosperous and proud once more. Takshaka, guerilla leader of the Nagas, foments a revolution by the downtrodden as he lies in wait in the jungles of India, where survival is the only dharma. Jara, the beggar, and his blind dog Dharma, walk the dusty streets of India, witness to people and events far greater than they, as the Pandavas and the Kauravas confront their searing destinies. Amidst the chaos, Prince Suyodhana, heir of Hastinapura, stands tall, determined to claim his birthright and act according to his conscience. He is the maker of his own destiny Ð or so he believes. While in the corridors of the Hastinapura palace, a foreign Prince plots to destroy India. And the dice fallsÉ

Earth is long since dead. On a colony planet, a band of men has gained control of technology, made themselves immortal, and now rules their world as the gods of the Hindu pantheon. Only one dares oppose them: he who was once Siddhartha and is now Mahasamatman. Binder of Demons. Lord of Light.