Ok here's how I envision this working. You take one, two, or maaaaaaybe three of your conpeoples' gods/goddesses/divine forces/philosophical factions/atheisms/what have you and describe them, maybe summarize their CV, tell their origin story, their death story (you never know!), detail a cult or state religion dedicated to them, what have you. I'll start off.

Erĕli, Trickster demigod
consort to Xamašeyau
patron of travelers
most powerful of the demigods, worshipped by some as a god

Xamašeyau
goddess of the dead
protector of the persecuted righteous
matron goddess of prostitutes and ne'er-do-well women
also widely worshipped as a (potentially) vengeful mother goddess in Ičetrou, Išeneli, and Tešahi, as well as in many of the western colonies.

Umu is the closest thing to god that the beastmen had. He is, essentially, the first progenitor (much like Adam) in our world. He had a lot of children with his two nephew (it's a long story).

Unlike beastmen themselves, Umu is depicted as being quadruped. The beastmen worship for Umu is akin to ancestral worship.

Ok, here're mine:


Mieril Walhor, a.k.a. No-One-Can-See, ascended being 19 yo.
the first person to ever achieve divinity;
after the ascension: hiding and non-interfering for five thousand years; later hilding the Duumvirate with Derision;
the mother goddess;
the matron of responsibility, order and justice.


Derision, a.k.a. Ajalair, the Mask, true name unknown, ascended being 23 yo.
having been close to achieving godhood himself and nearly dying in the process, revived and granted the divine status by Mieril Walhor;
afterwards causing the two to create the Duumvirate and start occasionally interfering with people's lives;
the god of unconstrainedness, blind luck and irony;
the patron of childhood.


Source, Beginning, true name Gýkkywu Hwóŧŧa, ascended being 20 yo.
Purpose, End, true name Nugyra Hrozó, ascended being 28 yo.
tragical romantic couple living several centuries after Derision's ascension;
revived and given divinity by Mieril and Derision;
Gýkkywu became the goddess of the past, the matron of logic and causality;
Nugyra became the god of the future, the patron of hope and idealism.


Novelty, true name known but kept secret, ascended being 25 yo.
became a goddess soon after Source and Purpose's ascension;
an ordinary woman chosen by Mieril to become Derision's spouse, fitting his personality;
the goddess of risk, leisure and change.


Ñeşev Lexişü, called Moderation by others, ascended being 31 yo.
became a goddess soon after Source and Purpose's ascension;
an ordinary woman chosen by Derision to become his spouse, fitting Mieril's expectations (unbeknownst to Novelty's ascension);
the matron of conservation of the status quo;
ironically causes the status quo to be ruined: irreversibly kills Source and Purpose (accidentally) and their unborn child (intentionally), causes Mieril to nearly kill herself (intentionally), causes Derision to nearly kill himself together with Ñeşev (accidentally) and finally gets killed by Novelty.


John Doe, true name and age known by Novelty and kept secret
an ordinary man chosen by Novelty to become her spouse;
his domain is unknown;
but Novelty likes him.


Also, not necessarily gods:

Background pool is the natural repository of supernatural abilities
it can be drawn from by skilled people but only in small quantities;
individuals of enough mastery can use it to create their own power pools;
some think the background pool is in reality the power pool of some higher being, other consider it just a natural phenomenon.


Foreground pool is the artificial power pool created by Mieril and then broken several times
it is connected to the background pool and regularly drains it of small amounts of power;
a person becomes divine when they get a foreground pool (or its part) they can draw from; a god dies when they cannot draw from their pool;
when a god is killed, their power leaks into the background pool; it later returns into the foreground pool, however;
when Derision tried creating his own pool, he briefly became a god, but then was drained of power by Mieril's pool; Mieril fixed it soon after by breaking her pool in two parts;
the pool was later broken twice: during the Source and Purpose's ascension and later when Novelty and Moderation became goddesses; Novelty, however, used a different procedure, separation, to rise John Doe;
the baby was able of using both Source's and Purpose's share of the pool; killing it caused its parents' pools to leak as well, causing their death in the process.

Not bad! Y'know, it's really time I posted something in here...

Alestéa is the Lilitic deity of Harming, corresponding to one of the eight primitive drives in traditional Ksreskézaian metaphysics. In her various aspects and contexts, she can function as a force for social change or an empowering force in a time of war, but when left unchecked, she reverts into an agent of strife. She is traditionally classified as a Dútéan goddess (i.e., grouped with Dútéa, the goddess of misery) as contrasted with the Tshayéan (hope) goddesses, but (according to the epic Faltúbilis zeves sawai, Ítossífa! by Sarthía) only manifested some time after the Fall of Ksreskézo, a trait she shares with the Goddess of Secrets, Úravéa.

Her physical appearance is well-described: fiery red hair (often described as being literal fire), ashen skin, massive antler-like horns, and armour modelled after the Ksreskézaian exoskeleton. These traits do more than make her menacing—red or orange hair is considered stereotypical of the largest gender/caste of the Lilitai, the Windgivers, and reminds them that they are expected to have courage. The armour and skin, on the other hand, are drawn from Atvôdslefa Salkza, an ancient pre-Lilitu who won her freedom by force in the gladiatorial arena. Alestéa even uses the same weapons as Atvôdslefa, the alestura slashing forearm blades, which are built into her armour.

In Faltúbilis, Ítossífa!, Alestéa first appears as an instrument of destruction, at the beck and call of the Mitradzhethíasa, a conservative sect of the early Lilitai who want to rebuild their masters' fallen empire. She provides them with their strength and aggression, and seems poised to enact the assassination of Géa (a pseudonym of Gleméa il Lilitina, the first leader of the Lilitai), but the attempt is thwarted at the last moment by her companion Dezhéa (Egrithía), and Alestéa later dissolves during a speech by Géa at the following tribunal. It is not until months later, when the Lilitai engage in the Globkhro War of Independence against the Hogedep, that Alestéa's productive side, Levadí Alestéa, She Who Cleaves, becomes manifest, in superposition with her normal, chaotic form. The goddess's influence is credited as instrumental in the success of the defence of Globkhro.

The cult of Alestéa is well-established, and one of the largest cults amongst polytheist Lilitai. In the early period following the Exodus, the Lilitai did not maintain places of worship or a priestesshood, however, and so only prayers and pageants existed. The primary pageant of Alestéa is the only Dútéan rite held during Dzhemesselía (the Festival of New Love), and incorporates the Ksreskézaian tradition about Atvôdslefa, which was the only Ksreskézaian dramatic production that portrayed an alien as a heroic protagonist worthy of being ascribed Ksreskézaian traits.

A temple was founded to Alestéa on Illera in 679 LILPO, though at the time it was regarded as a fringe obsession by the remaining Mitradzhethíasa. Since the events of the Globkhro War and its fictionalized counterpart, the Lilitai have been broadly pacifist, and Alestéa is generally harnessed as a force of renewal.

Kaliana, the Sublime Goddess, is the only deity worshipped in the Sublimist religion of southern Salenzis. The religion's homeland is Igion, the largest state in southern Salenzis if you don't count Zarcos. In Igion, Sublimism is the majority belief system, however, it is a minority belief system if you take southern Salenzis as a whole, being beaten by Traditional Salenzianism, to which Sublimism has a few similarities, the two having emerged around the same time, during the Pax Prophana.

The short version of what the Sublime Goddess teaches is equality, especially equality of the sexes. She also hates necromancy, primarily because necromancers can open portals into the underworld (which she refers to as the Shadow), from which demons can emerge into Maikros (the world). One thing Sublimism shares with Salenzianism is the idea of Collective Self-Reliance, the idea that the group should be able to deal with its own problems. The group can be defined at any level, from a small group of friends all the way up to all people. The individual, however, is not considered to be a group. Sublimism comes at the idea differently from Salenzianism, however. In Sublimism, it is inspired by the Goddess' ideals of equality.

The long version would take up a whole book - the Codex Sublimis. Here are some quotes:

"I am thy Lady the Sublime Goddess. I am the One, and under Me thou shalt have no Other. All such are of the Ancient Fathers; scornest them, as thine have scorned thee."

"Suffer not the Violator, the Ravisher. Under thy watch and Mine, he shall be consigned unto Shadow."

"The Shadow presenteth the most danger to thee. It is so for all. To present one to it shall thus be regarded with utmost care and foresight."

"Takest thou My hand. It beareth great power; thus shall thine."
This above quote is a rather well known line, and is the inspiration for the identifying symbol of Sublimism, a hand with the palm facing forward and the fingers pointing down.

"The Necromancer draweth his power from Shadow. He bringeth forth Demons from it into Mind and Maikros. Let him not into thy lands, thy cities, thy towns, thy homes, for in the end, he will have wrought only your destruction. Such is this danger he presenteth that even the Ancient Fathers hath placed their sanctions against him."

"These women are enslaved, beaten, and forced - it is in this way that the Ancient Fathers hath corrupted the arts of pleasure and forged them between hammer and anvil into sin. To them, I say: I offer thou freedom from thy masters, I offer thou the choice of thy profession, and if thou choosest to remain with it, I offer thou the purity of holiness: thy craft shall be tempered and sharpened so: thou shalt be My bed-priests, and thou shalt spread My word without words, and give those who know it already comfort and solace."
Even though this quote talks only about women, men can become bed-priests, too.

This next quote is from the Visions, the last section of the Codex, known for being crazy and making little sense. The Goddess is cagey about the Visions, and there are rumours that even She does not fully understand them.

"Ranachas and Vitu were wedded in coercion; the contracts were written by the Sixty-Eight Eternal Hours, otherworldly scion of the Ancient Fathers, whose true name is terror and heresy; their consummation bed was of four-hundred-and-thirty-two clouds through which they saw a myriad of images as the Hours contained them and forced them to couple. For these hours they did so, and Vitu was made to bear a child. The child was difficult inside her womb, and so she prayed to the Great Bird of Zarcos. She took the shield and sword of Ranachas as offerings and shouted atop the roof of his home, towards the sky: 'I beg that you shall descend from on high, O Kandurinith, and that you shall give me such strength that I need to bring forth this child safe and healthy.' But the Great Bird knew of the influence of the vile Eternal Hours, and so through this conduit she gave him, smote her at once. Ranachas was near her and saw this. He was stricken with such grief to lose his first wife that he quit his roof, and all of him was broken and unrecognizable upon the earth. Even though Vitu was smote, her child could not be - but her death severed its tie to her family, protecting them from its wrath as it emerged from Vitu's corpse in thunder and screams."

Some say there are 11,000,000,000 goddesses. Some say they all are but names of one single goddess. Some say the goddesses are nothing but great mothers and heroes of the ancientest days, who became objects of veneration after their deaths. Be that as it may, hase or goddesses are an important part of ñi, or cosmic order. Whether you believe in the hase or not, it is proper to venerate them.

The queen and chief of the hase is Yuri the All-Mother. She quite literally gave birth to every thing in the universe, so we are all her daughters. Other notable goddesses are Vai, the goddess of war, Ivaro, goddess of blacksmiths, Rato, goddess of the soil, Poke, goddess of beginnings and endings, Señe, goddess of messengers, Koi, goddess of dawn, and Tosu, goddess of victory.

There are numerous greater and lesser goddesses and spirits, most of whom have a special connection to one (or more than one) particular place where they are worshipped. Many lesser goddesses don't have a name separate from the name of their particular place. For example, the tutelary deity of Raiuke Village would be called simply Raiukeno Hase, or the Lady of Raiuke. (Raiuke is only used as an example. It literally means 'rice paddy'. It is used colloquially as the name of a place where unfashionable rustics live. Hicksville?)

Bumfuck, <geographic area>, imo.

Okay. Posting spree continues. Let's see if I can dredge up enough interest in another Lilitic deity... hmm... who... Oh, yeah. Múrekíha has been on my mind a lot lately. Be warned: this post is more or less a summary of several ways in which the Lilitai are less than perfect.

The Goddess of Sadism, Múrekíha, is a Dútéan1 deity like Alestéa,2 but is more of a clear-cut negative force with few if any redeeming values. In Sarthía's epic Faltúbilis, Ítossífa! she gets involved with the Lilitai by being drawn to the vacuum of energy and misery caused by the death of the old gods in the first chapters, appearing alongside Dútéa (the Weeper) and Telméa (the Twister of Minds), two other powerful negative forces.

Múrekíha is generally regarded as the Mother of Nightmares, and violent sleepwalkers are believed to be possessed by her (via special dreams called bístoai.) From an external perspective, bístoai constitute a culture-bound psychosis (one of many that can be found among the Lilitai) which spreads quite contagiously as a result of unconscious fears of experiencing the same thing. An entire order of priestesses devoted to Múrekíha and Ighokhéa3 eventually sprung up to combat these outbreaks, whose duties were primarily concerned with waking the sleepwalkers.

The Cult of Múrekíha was slow to develop, and it is not clear when the bístogalsai (the sleep-aides) started to be infiltrated and replaced by múrekídai, true devotees of Múrekíha who had been seduced by the stories of others describing their nightmares.4 Múrekídai are infamously the subjects of many scandalous and threadbare stories both about the Lilitai and about certain undesirable groups within the Lilitai (such as the previously-mentioned Mitradzhethíasa and also kadzhírai and kadzhíríquai, those unable to put slavery behind them), as many of their rites are intensely opaque, deal with dark and terrible subjects that would be considered Satanic by Christian standards, and often involve the consensual drinking of blood, a detail that later led to mythological cross-pollination with vampires. The same word is used for actual hematolagniacs,5 which simply makes matters more awkward.

The goddess herself is perhaps a little uninteresting—a little like the devil, she is assumed to punish the wicked, but as many of the Lilitai carry heavy consciences they are quick to assume she would only be too happy to take strips out of their flesh with her instruments. Her capacity for cruelty is believed to be limitless, and if she relents, it is only because she thinks allowing hope to grow will give her more to destroy. (Fortunately, there are other supernatural powers that keep her in check.) As a result of her choice of clothing—a black leather leotard, which has rather horrifying implications for a species with no livestock, and gloves and boots of white and black stripes—certain patterns of black and white banding are often considered distasteful for certain applications, a superstition that has at times gone so far that line-art illustrations in religious or children's stories are often coloured differently just to avoid the appearance.

quoting Rhetorica:

her choice of clothing—a black leather leotard, which has rather horrifying implications for a species with no livestock

Maybe there should be faces on it, some even still alive and screaming in agony?

Perhaps when she's in a certain mood? I always figured it was flayed whole and, uh, matched what it covered.

Hello, I am Anthologicabot Bbzx Mqx Wqp and I am entirely too cool to simply post a deity here so have something similar but different instead.

One of the most widespread myths in the Jalvic sphere is the tale of a figure who is fundamentally of the same category as, and somewhere in between, Beowulf and Odysseus; the exact name varies widely because Jalvic sound correspondences are fucked and this kind of crap is borrowed like nobody's business so I will call him by the name I originally invented way back when and fuck everything.

Seaven the Many-Beëpithetted is cast often as a hero, sometimes as a tragic figure, and at times even as a detestable criminal. Portrayed as a man who sacrificed everything for a higher cause, including, ultimately, his own life, commentaries on his story are even more varied than versions of this story itself. The more Tianxiaist commentators praise him for his willingness to cast aside everything for king and country, whereas others go so far as to portray him as, basically, a career egotist who did not give a second thought to sacrificing his family for a chance at fleeting glory.

The latter opinions are generally boosted by the tradition of him having been promiscuous and not extremely faithful to the bonds of marriage, although the details of this vary widely from tradition to tradition. Seduction by fairy spirits is a common element, but many stories include his illicit meeting with the wife of an aristocrat.

While the opinion of the literati and philosophers is thus rather varied, there can be no doubt that he generally holds the status of a legendary hero among the common people, and the stories of his life are central to much of Jalve mythology. The Telmani Jalve Lay of Seaven+hint hint in particular is perhaps the finest example of the genre of the Wandering Song, so named because it generally portrays the events happening in the song as a journey.

Toran

The god Toran is the Ercunic god of thunder and possibly of the sky and the wheel. He is equivalent to Thor in Norse mythology, Tuireann in Ireland, and Taranis in Gaul. He is also in interpretatio romana referred to as Jupiter. He has a rare epithet Ambisaghar "around-power", possibly an allusion to the sound of thunder. Coins with an eight-spoked wheel are dedicated to Toran, and votives called rouelles (wheel tokens) are offered at shrines, worn as amulets or tossed in the Rhine river for luck.

He is part of a triune with the gods Esus and Tótháth, comprising the god Lugh.

Elmincár has a fair number of gods (about 21 at my last count), all of which are real. However, in keeping with the previous entries in this thread, I shall post about the two most unusual ones. This is also because most of the others do not have much in the way of interesting material, which is itself partially because several of them are occupied fighting Magán (spoilers: they lose), and many of the rest simply don't care about mortals.

Magán (from metathesis of namág, "to break"), also known as Émaorneth (literally "day of ruin", from émaor "day" + neth "ruin") or the Destruction is a god, but in most ways is more like a god's antithesis. Whereas all other gods create, and delight in creating, Magán destroys, and delights only in destruction. Magán does not simply burn fields, sack cities, and demolish the works of man: he destroys utterly what he touches. The legends say that he is terrible to behold, and describe the works of valor that other gods do against him, and then tend to stop there, sometimes going to great lengths to avoid describing him at all. But those descriptions that do exist are terrible, even sickening: his touch causes the world to crack, burn, wither, dissolve, dessicate, bleed into nothingness. Those who are destroyed by his hand are destroyed utterly; they do not dream the Long Dream.1 Magán corrupts the hearts of men, and thereby leads armies, but only for the purpose of fighting off those who have the power to destroy him, so that he can consume the world.

The Fairy Queen is a very strange god. Uniquely among the gods, she has no magic whatsoever, and did not take part in the creation of Elmincár. She possesses, also uniquely, insight. This is in some sense prophetic vision into the future, but it relies on knowing what events will take place. It is not a matter of fixed prophecy, but not a matter of pure deduction: knowing what she knows, she has the power to see what will happen. This means that no prophecy given is binding, but some prophecies are too difficult to see. She freely shares this gift with mortals, giving them advice and counsel as best she can, but only if they seek her out. Unlike other gods, which receive sacrifice, veneration, and prayer wherever one happens to be, and who may appear to travelers at their whim, the Fairy Queen does not receive any sacrifices or prayers—nor is there any ritual or incantation associated with her—and only may be spoken to by visiting one of her many shrines. But if visited, she will never turn away a mortal or god, and she will give the best advice as she can.