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Wawa

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Tradition / Region: Papua New Guinea Mythology
Alternate Names: —
Category: Dwarf

The Myth

At Mabudavane stands a huge, isolated block of stone. This stone is known as the house of Wawa.

Wawa is a being shaped like a man, but he is very short and thick in build. From his head grow bushes and flowers, as though the land itself has taken root in him. When he works in his garden, he removes these plants and sets them aside, placing them back on his head when his labor is finished.

A long tale is told of Wawa’s cruelty and fierce revenge against a man who once offended him. Though the full story is rarely spoken, it is enough to make people cautious of his temper and respectful of his presence.

At night, Wawa can sometimes be seen standing on top of his stone house. People also hear the sound of him banging his door as he enters his dwelling. These noises are taken as signs that he is awake and moving.

When the Mawata people come to this place to catch crabs, they perform certain rites in Wawa’s honor, acknowledging his authority over the land. The spirits of the dead are also said to pass by Wawa’s house on their journey to Adiri, making his dwelling a threshold between worlds.

Two men of Mawata are known as Wawa’s special friends. To them he appears in dreams, offering guidance and useful advice. His favor is personal, not communal, given only to those he chooses.

From Wawa’s house runs a narrow path leading to a flat slab of rock. On this stone, Wawa sharpens his axe. Long oblong marks in the rock are said to be the traces of this sharpening. The path remains worn and clear, though no ordinary human ever walks it.

Thus Wawa endures as a being of stone, soil, and spirit—rooted in the land, feared for his vengeance, respected through ritual, and quietly present where the living, the dead, and the earth itself meet.

Gallery

Sources

Landtman, G. (1970). The Kiwai Papuans of British New Guinea: A nature-born instance of Rousseau’s ideal community.

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Gabora

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Tradition / Region: Papua New Guinea Mythology
Alternate Names: The Saw-Fish of Madiri
Category: Fish, Sawfish

The Myth

Long ago, in the bushland along the coast of Kiwai, between Iasa and Kubira, there was an open stretch of land that had been cleared in a terrible way. This clearing was made by Gabora, a gigantic saw-fish that lived in a nearby swamp.

One day, a woman was fishing in the swamp using sádi, a poisonous substance placed in the water to stun fish. The poison disturbed Gabora. Driven from the swamp, the monstrous saw-fish surged out onto dry land. As it moved toward the sea, it swept its enormous saw from side to side, cutting down the bush in a single, devastating passage. Trees fell as if sliced by a blade, and the land was left bare. From that day onward, no trees ever grew there again.

Later, the people returned to fish in the same place, again using sádi. Once more, Gabora rose from the water. This time, it swung its terrible weapon across the fishing grounds, killing nearly all the people present. The destruction was so complete that the event was remembered as a warning never to disturb certain waters again.

Gabora is spoken of not only as a fish, but as an obisare, a dangerous and uncanny being whose presence marks places of death and desolation. The empty land it created remains as proof of its passage, and the story endures as a reminder that some waters are guarded by powers that do not forgive intrusion.

Gallery

Sources

Landtman, G. (1970). The Kiwai Papuans of British New Guinea: A nature-born instance of Rousseau’s ideal community.

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Obouibi

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Tradition / Region: Papua New Guinea Mythology
Alternate Names: Obóubi, Obóubi-spirits
Category: Spirit, Dwarf

The Myth

The Obouibi are mysterious beings who belong to the water. They live in the sea and travel far up the rivers, moving freely between saltwater and freshwater. Though they are spirits, they appear largely human in form. Both male and female Obouibi exist, and they resemble ordinary people, except that the females wear skirts made of grass. At times, an Obouibi may be seen swimming like a frog, its short limbs and stout body cutting through the water.

The language spoken by the Obouibi is said to be the same as that of humans, but their voices are feared. Those afflicted with sores or sickness are believed to be under their influence. They are masters of crocodiles and other water animals, and when a crocodile kills someone unexpectedly, people say it is the work of the Obouibi. At night, a strange wailing may be heard from the water—this is said to be their cry.

Some Obouibi live near villages such as Kimusu. They kill and eat dugong, leaving behind piles of bones. Some of these bones are left in the water, some are taken fresh, and others are arranged in circles, much like the way humans arrange the skulls of enemies they have captured. If a canoe is lost at sea, the people believe the occupants have been taken by the Obouibi and will never return. Sometimes, however, a person may escape. It is said that one man passed an Obouibi and was carried alive to their dwelling beneath the sea, where he remained for several days.

There is a story of a handsome Puruma boy who was visited at night by a beautiful Obouibi girl while he slept in his canoe. He married her and kept her hidden from the people. She bore him a child, and for a time lived among humans. But one day, when the husband was absent, she overheard people speaking badly of her. That night, she took her child and returned to the water, vanishing back into her own world.

It is also said that male Obouibi sometimes rise from the sea and take human women with them, carrying them away into the depths.

The Obouibi are known to give medicines and knowledge to certain people through dreams. These gifts are used in harpooning and gardening. Along with other related beings, they are closely associated with dugong hunting. Harpooners appeal to them for success and guidance, and in earlier times offerings of dugong bones were made to gain their favor.

Thus, the Obouibi remain beings of both danger and knowledge—powerful water spirits who can kill, heal, abduct, or instruct, and whose presence is felt wherever rivers meet the sea.

Gallery

Sources

Landtman, G. (1970). The Kiwai Papuans of British New Guinea: A nature-born instance of Rousseau’s ideal community.

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Pairio

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Tradition / Region: Papua New Guinea Mythology
Alternate Names: —
Category: Fish, Catfish

The Myth

On the reef of Kubani-kikava there lives a cat-fish called Pairio, feared by all who travel those waters. No canoe dares to pass close to her home, for Pairio destroys vessels by thrusting up her back, which is lined with sharp spines. At times a single spine is seen breaking the surface of the sea ahead of a canoe, a warning that forces the crew to turn away at once. At other times she swims behind a vessel, one spine aimed like a weapon, and the paddlers must flee with all their strength to escape destruction.

Pairio was not always a fish. In the beginning she was a malignant female being, akin to other dangerous spirits of the land. One day she was pursued by a great cloud of butterflies. They swarmed over her and settled upon her body until she was completely covered, their wings beating and clinging so tightly that she could not free herself.

To escape them, Pairio fled into the sea. The butterflies followed and were soaked by the water. Their wings hardened, their bodies changed, and spines rose along their backs. In that moment they were transformed into stone-fish and cat-fish, bright and richly colored, just as the butterflies had been.

Pairio herself remained in the reef, now fully a creature of the sea, armed with spines and power. From that time on, the waters of Kubani-kikava became dangerous to all who ventured too near, and the presence of strange, spined fish in the reef was remembered as the legacy of butterflies that once chased a spirit into the ocean.

Gallery

Sources

Landtman, G. (1970). The Kiwai Papuans of British New Guinea: A nature-born instance of Rousseau’s ideal community.

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Abumi-guchi

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Tradition / Region: Japanese Mythology
Alternate Names: Abumiguchi
Category: Object, Yokai

The Myth

On old battlefields where grass grows over rusted iron and forgotten bones, an Abumi-guchi is said to wait.

Long ago, it was nothing more than a stirrup—one of a matched pair belonging to a warrior who rode into battle and never returned. When the fighting ended, the dead were buried or burned, the living went home, and the stirrup was left behind in the dirt, still shaped to bear a foot that would never again step into it.

As years passed, the abandoned object awakened.

The iron frame sprouted coarse fur, and where the foot once rested, a mouth formed—wide, soft, and wordless. Thus the Abumi-guchi was born, a tsukumogami shaped not by malice, but by longing.

Unlike many yōkai, the Abumi-guchi does not roam. It does not hunt, trick, or frighten travelers. It remains where it fell, half-buried in grass or mud, facing the direction from which its master once rode. It waits patiently, endlessly, believing that the warrior will return to claim it.

Those who encounter an Abumi-guchi describe it as gentle and sorrowful. It does not attack. It does not speak. If approached, it merely watches with its hollow mouth, as though expecting a familiar presence. Some say it shifts slightly when footsteps approach, mistaking strangers for its long-dead owner.

The Abumi-guchi is said to endure until it finally decays completely, or until time itself erases the memory of the battle. Until then, it remains a symbol of loyalty without reward—an object bound to a purpose that can never again be fulfilled.

In Japanese folklore, the Abumi-guchi stands as a quiet reminder that even tools can grieve, and that devotion, when left behind, may linger far longer than the lives that once gave it meaning.

Gallery

Sources

Yokai.com contributors. (n.d.). Abumi-guchi. In Yokai.com — The Japanese Mythology Database, from https://yokai.com/abumiguchi/

Wikipedia contributors. (n.d.). Abumi-guchi. In Wikipedia, The Free Encyclopedia, from https://en.wikipedia.org/wiki/Abumi-guchi

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Azuki Hakari

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Tradition / Region: Japanese Mythology
Alternate Names: Azukihakari, Bean Counter
Category: Yōkai, Household Dweller, Red beans

The Myth

In the quiet hours after midnight, when houses settle and the world grows still, the Azuki Hakari makes itself known—not by sight, but by sound.

It is said to dwell in rural homes, temples, and old buildings, hiding in attics, ceilings, or garden shadows. No one has ever seen an Azuki Hakari. Its presence is announced only through a sequence of noises that unfold with deliberate precision, as though following a ritual known only to the spirit itself.

An encounter often begins with heavy footsteps above the room, pacing slowly in the narrow space between ceiling and roof. The steps are deliberate, neither hurried nor random, as if someone were measuring the house from above. Soon after, another sound joins the steps: the dry, rhythmic scattering of azuki beans, striking against windows or sliding doors. The sound repeats steadily, like counting—bean after bean—growing louder with time.

As the night deepens, the noises change. The dry patter of beans becomes the sound of splashing water, as though something unseen were washing or pouring liquid nearby. Finally, the rhythm resolves into the unmistakable clack of geta—wooden sandals—walking just outside the room, circling the house.

Those who dare to open the door or window in response are met with sudden silence. The footsteps vanish. The beans are gone. No water remains. There are no tracks, no marks, no sign that anything was ever there.

In older accounts, it is said that the Azuki Hakari may sometimes cause dust or scraps of paper to fall from the ceiling, but it never harms the residents. It does not steal, attack, or speak. Its purpose is unknown. It simply performs its nocturnal counting and departs.

Because the Azuki Hakari is never seen, its true nature remains uncertain. Some believe it is related to other azuki spirits, while others insist it is something separate—an invisible presence made entirely of sound. In many stories, encounters once attributed to river-dwelling azuki yōkai are now believed to have taken place within homes, pointing instead to the silent work of the bean counter.

Thus the Azuki Hakari endures in folklore as a reminder that not all spirits announce themselves with form or violence. Some are known only by rhythm and repetition, by footsteps in the dark and beans that were never there—proof that even an empty house is never truly empty.

Gallery

Sources

Wikipedia contributors. (n.d.). Azukihakari. In Wikipedia, The Free Encyclopedia, from https://en.wikipedia.org/wiki/Azukihakari

Yokai.com contributors. (n.d.). Azukihakari. In Yokai.com — The Japanese Mythology Database, from https://yokai.com/azukihakari/

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Skogkatt

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Tradition / Region: Norwegian mythology
Alternate Names: Forest Cat, Mountain Cat
Category: Cat

The Myth

In the old Norse lands, where mountains rose sharply from forest and stone, people believed that not every path was meant for human feet. Some heights belonged to other beings—watchers who moved where men could not follow. Among them was the Skogkatt, a forest cat spoken of not as an animal, but as a fairy creature shaped by the land itself.

The Skogkatt was said to dwell in the mountains, not in villages or hearth-lit halls. Forests marked its boundary, cliffs its true home. Where rock faces rose sheer and unforgiving, the Skogkatt climbed without hesitation. Places that halted hunters, travelers, and even other animals offered it no resistance. Its movement defied expectation, as though the mountain itself allowed its passage.

This ability was not admired for grace, but respected for its meaning. In Norse belief, skill without purpose was rare. To climb where others could not was not merely strength—it was permission. The Skogkatt did not struggle against the mountain; it belonged to it. It left no tracks, no broken stone, no trail to follow. Where it went, humans were reminded of their limits.

Unlike house cats, the Skogkatt was never tame. It was not kept, trained, or claimed. To encounter one was not ownership, but coincidence—a brief crossing between human movement and something older. It did not linger, and it did not respond to being seen. Its presence was not an invitation, but a warning.

The mountains themselves shaped the creature’s meaning. In Norse thought, high places were realms of endurance, silence, and judgment. Storms gathered there without warning. Paths vanished beneath snow and stone. That the Skogkatt moved freely among these dangers marked it as a being unafraid of isolation, thriving where dependence failed.

Later generations would wonder whether the Skogkatt lived on in flesh rather than story, embodied in the great forest cats of Norway—powerful climbers with thick coats and unshakable balance. But folklore does not concern itself with proof. What mattered was not whether the Skogkatt endured, but what it taught.

Through the Skogkatt, people learned that the land does not yield itself equally to all. Some beings walk where others must stop. To follow blindly is to fall. Wisdom lies in knowing when a path is not meant for you.

And so the Skogkatt remains where it has always been—high above the treeline, moving along stone faces untouched by human hands. A quiet presence in the mountains, reminding those below that not every height is meant to be conquered, and not every creature is meant to come down.

Gallery

Sources

Wikipedia contributors. (n.d.). Norwegian Forest Cat. In Wikipedia, The Free Encyclopedia, from https://en.wikipedia.org/wiki/Norwegian_Forest_Cat

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Taoulupo’os Bat

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Tradition / Region: Tongan Mythology and Samoan mythology
Alternate Names: —
Category: Bat

The Myth

In the lands of Tonga and Samoa, there is a tale told of Leutogi, whose life was once placed in grave danger through jealousy and human judgment. When she was condemned to die by fire, her brother Taoulupo’o called upon the spirits of the dead for aid. Hearing his plea, they sent forth a white bat, a creature unlike any other.

As the flames rose around Leutogi, the white bat descended and extinguished the fire, saving her from death. Through this act, the spirits made clear that her fate was not to end there. Leutogi was then cast away to a barren island, alone and cut off from human aid. Yet she was not abandoned. Each day, white bats came to her, bringing her food and watching over her, ensuring her survival.

In time, Leutogi gave birth to a son. He was named Fa’asega, and he was given the title Tonumaipe‘a, meaning “the decision from the bat,” for it was the bat’s intervention that had preserved his mother’s life and made his birth possible.

Thus the white bat became known as a sign of ancestral protection and spiritual authority, acting when human judgment failed. Through Taoulupo’o’s invocation and the bat’s actions, the spirits showed that the unseen world watches closely, and that life and death are not governed by humans alone, but by forces older and wiser than any living voice.

Gallery

Sources

A Book of Creatures contributors. (2015). Alicanto. In ABookOfCreatures.com, from https://abookofcreatures.com/2015/06/24/alicanto/

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Alicanto

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Tradition / Region: Chilean Mythology
Alternate Names: —
Category: Bird, Gold

The Myth

Deep within the mountains of Chile lives the Alicanto, a radiant bird that feeds not on seeds or flesh, but on gold and silver. Wherever rich veins of ore lie hidden, the Alicanto is said to wander through tunnels and ravines, its wings glowing with metallic light. Some shine like molten gold, others like polished silver, and their brilliance is strong enough to illuminate the darkest mine.

Though it has wings, the Alicanto cannot fly. The more precious metal it consumes, the heavier it becomes. As its body grows dense with wealth, its movements slow, and it walks carefully through the mountain paths, shining ever more brightly as its freedom fades.

Miners who see its glow believe they are close to great riches, for the Alicanto appears only where the earth is full of treasure. Many have followed its light, hoping it would guide them to fortune. But the bird is dangerous to pursue. If it senses greed or realizes it is being watched, it suddenly extinguishes its glow and disappears, leaving the seeker lost in complete darkness.

Sometimes the Alicanto continues to shine while being followed. In such cases, it may lead miners deeper and deeper into the mountains—toward collapsed tunnels, sheer drops, or places from which there is no return. Those who survive say that only prayer, humility, and the absence of greed can save a person led astray by its light.

The Alicanto does not attack, speak, or judge. It does not choose who lives or dies. It merely shines. In this way, it embodies the lure of hidden wealth itself: beautiful, silent, and indifferent, offering light that may reveal riches—or ruin—to those who follow it too far.

Gallery

Sources

A Book of Creatures contributors. (2015). Alicanto. In ABookOfCreatures.com, from https://abookofcreatures.com/2015/06/24/alicanto/

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Emobali

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Tradition / Region: Papua New Guinea Mythology
Alternate Names: —
Category: Crocodile, Fish, Shapeshifter

The Myth

Emobali was once a Djibu boy. One day, while hunting, he shot a woman without knowing who she was. When he discovered that he had killed his own mother, grief and terror seized him. Unable to live with what he had done, Emobali went to the Binatui River at Mude and threw himself into the water.

At the place where he entered the river, a deep hollow was formed close to the bank. This deep spot is said to exist because of Emobali’s leap, and it remains as a sign of his death.

Afterward, Emobali became a spirit of the river. In the water, he appears in the form of a crocodile or a fish, moving silently beneath the surface. Yet Emobali does not only haunt the river. He also comes to people in dreams. When Djibu people sleep naked, Emobali may appear to them and instruct them, teaching medicines and giving knowledge useful for hunting and gardening.

In these dreams, he does not appear as an animal, but in his human form, as the boy he once was.

Thus Emobali lives on as a crocodile–fish spirit of the river, born from an act of tragic ignorance, dwelling in water and dreams alike, feared and respected as both a reminder of guilt and a giver of hidden knowledge.

Gallery

Sources

Landtman, G. (1970). The Kiwai Papuans of British New Guinea; a nature-born instance of Rousseau’s ideal community. New York: Johnson Reprint Corp., p. 302.

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