Is 'Kingdom Of The Wicked' Based On Italian Folklore?

2025-06-26 11:36:41 286

3 Answers

Wesley
Wesley
2025-06-27 13:37:48
Reading 'Kingdom of the Wicked' feels like stumbling into a secret Italian grandmother's nightmare diary. The folklore here isn't the sanitized version—it's the raw, regional stuff my Nonna used to whisper about. The witches don't ride broomsticks; they practice 'malocchio' curses with olive oil and needles, straight out of Calabrian superstition. The demon Wrath? His torture methods mirror the 'lupo mannaro' werewolf legends from rural Tuscany where beasts didn't just bite—they psychologically tormented victims first.

Emilia's character arc mirrors the 'strega bianca' (white witch) tradition, where morality isn't black and white. Her bond with Wrath parallels folktales about mortal women bargaining with demon lovers, though the book flips the power dynamic. Even the magic system reflects Italian herbalism—using basil for protection or rosewater for truth spells, details most fantasy overlooks. It's not a folklore textbook, but the essence is undeniable, especially in how family curses operate like generational 'fattura' hexes.
Nora
Nora
2025-06-30 19:42:49
the Italian folklore elements are unmistakable. The setting drips with Sicilian atmosphere—from the descriptions of Palermo's shadowy alleys to the mentions of La Matanza festivals. The witches' covens mirror historical stregheria traditions, and the demon princes align with lesser-known Italian legends about the Seven Deadly Sins incarnate. What's brilliant is how the author twists these roots; the villainous Wicked aren't just biblical devils but reinterpretations of figures like the shapeshifting Benandanti. The food descriptions alone (cannoli magic!) anchor it culturally. While not a direct retelling, it's steeped in that folklore's essence, making demons feel fresh yet ancient.
Olive
Olive
2025-07-01 13:24:42
I can confirm 'Kingdom of the Wicked' is deeply rooted in Italian folklore with creative liberties. The core framework borrows from the 'donne di fuora'—Sicilian fairy witches believed to commune with spirits. Emilia's herb magic mirrors their alleged healing practices.

The demons however are where the adaptation shines. Pride isn't just Lucifer; he's modeled after the boasting folletto house spirits, while Envy embodies the malicious 'munacheddhu' dwarves from Sardinian tales. The book merges these regional variants into a cohesive hierarchy. Even small details matter: the cursed objects reflect 'jettatura' (evil eye) charms, and the sea demons reference the Sirens of Messina's Strait.

What fascinates me is how modern witchcraft tropes get filtered through this lens. The palazzo battles feel like updated versions of the 'Cunti di li Fati' oral stories, where cunning humans outsmart demons through wit rather than raw power. The sequel 'Kingdom of the Cursed' leans harder into Dante's Inferno imagery, proving this isn't just surface-level borrowing but a thoughtful reinvention of Italy's occult history.
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