{"id":2174,"date":"2026-09-09T20:08:37","date_gmt":"2026-09-09T20:08:37","guid":{"rendered":"https:\/\/hrafn-wikinger.com\/?p=2174"},"modified":"2026-09-18T17:10:20","modified_gmt":"2026-09-18T17:10:20","slug":"god-of-war-ragnarok","status":"publish","type":"post","link":"https:\/\/hrafn-wikinger.com\/en\/gaming\/mythology-check\/god-of-war-ragnarok\/","title":{"rendered":"God of War: A Mythology Check \u2014 What the Games Really Do with the Norse Sources"},"content":{"rendered":"<aside class=\"hrafn-spielbox\"><h2>The game at a glance<\/h2><div class=\"hrafn-spielbox__fact\"><span class=\"hrafn-spielbox__label\">Game<\/span><span class=\"hrafn-spielbox__value\">God of War (2018) and God of War Ragnar\u00f6k (2022)<\/span><\/div><div class=\"hrafn-spielbox__fact\"><span class=\"hrafn-spielbox__label\">Developer<\/span><span class=\"hrafn-spielbox__value\">Santa Monica Studio<\/span><\/div><div class=\"hrafn-spielbox__fact\"><span class=\"hrafn-spielbox__label\">Release year<\/span><span class=\"hrafn-spielbox__value\">2018 and 2022<\/span><\/div><div class=\"hrafn-spielbox__fact\"><span class=\"hrafn-spielbox__label\">Platforms<\/span><span class=\"hrafn-spielbox__value\">PS4, PS5, PC<\/span><\/div><div class=\"hrafn-spielbox__fact\"><span class=\"hrafn-spielbox__label\">Genre<\/span><span class=\"hrafn-spielbox__value\">Action-Adventure<\/span><\/div><div class=\"hrafn-spielbox__urteil hrafn-spielbox__urteil--frei\"><span class=\"hrafn-spielbox__label\">Hrafn verdict<\/span><span class=\"hrafn-spielbox__urteil-wert\">Freely interpreted<\/span><\/div><\/aside>\n<p>A Spartan god of war scatters his wife&#8217;s ashes from a mountain in Midgard: that is how <em>God of War<\/em> (2018) begins, and by way of <em>God of War Ragnar\u00f6k<\/em> (2022) it leads to an apocalypse the players themselves set in motion. Unlike a historical setting, there is no date to verify here, no chronicle, no excavation report. Santa Monica Studio is adapting myth, not history. The question is therefore not whether something is historically accurate, but this: what do the Poetic Edda and Snorri actually say &#8211; and where does the game deliberately depart from them? This mythology check works through the central figures one by one.<\/p>\n<h2>What is actually being checked here<\/h2>\n<p>Anyone who treats Norse mythology as a fixed canon misunderstands its source situation. Almost everything we know about Odin, Thor and Ragnar\u00f6k comes from two manuscripts: the so-called Poetic Edda, a collection of anonymous mythological and heroic poems written down around 1270 in the Icelandic Codex Regius, and the Prose Edda, which Snorri Sturluson composed around 1220 as a handbook for skalds. Individual episodes &#8211; the one about M\u00edmir, for instance &#8211; are known to us only from Snorri&#8217;s later historical work, the <em>Heimskringla<\/em>.<\/p>\n<p>Both Eddas were produced centuries after the Christianisation of Iceland, both by Christian authors, and Snorri visibly orders, smooths and supplements. The yardstick for this comparison is therefore not \u201ethe truth&#8220; but a written tradition that is itself already an adaptation. That is not a footnote: it shifts the question from \u201eright or wrong&#8220; to \u201ehow freely does the game handle what has actually come down to us&#8220;.<\/p>\n<p>A note on spelling: where <em>Baldr<\/em> and <em>M\u00edmir<\/em> appear below, the figures of the Old Norse sources are meant; <em>Baldur<\/em> and <em>Mimir<\/em> denote their counterparts in the game. In several places that distinction is exactly the point.<\/p>\n<h2>Kratos in the north: a foreign body with a surprising precedent<\/h2>\n<p>Kratos is Greek. Old Norse tradition contains no encounter between Mediterranean and Norse gods, no reference to foreign pantheons, no travel between mythological systems. As pure invention, the game&#8217;s premise looks arbitrary at first glance.<\/p>\n<p>What is remarkable, though, is that Snorri Sturluson of all people attempted something structurally similar. In the Prologue to the Prose Edda he traces the \u00c6sir back to Troy: Thor appears there as the mortal grandson of King Priam, and Odin is placed several generations further down that line &#8211; a man who travels north from Asia Minor and is taken for a god. This euhemeristic reading &#8211; gods as historical humans elevated by later generations &#8211; was meant to make pagan material palatable to a Christian readership. The idea of connecting the Norse pantheon to the ancient Mediterranean world is therefore not a Santa Monica Studio invention. Snorri had it in 1220, albeit with an entirely different motive.<\/p>\n<h2>Baldur: the first game&#8217;s largest intervention<\/h2>\n<p>The death of Baldr is the best-known myth of the Norse divine circle &#8211; and the game rebuilds its core. In the Prose Edda, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/baldr\/\">Baldr<\/a>, son of Odin and <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/frigg\/\">Frigg<\/a>, dreams of his own death. His mother Frigg then extracts an oath from every thing in the world not to harm him, but passes over the mistletoe as too young and insignificant. Loki learns of this, fashions a missile from mistletoe wood and guides the hand of the blind H\u00f6\u00f0r, who kills his brother. What follows is Herm\u00f3\u00f0r&#8217;s ride to the underworld and Hel&#8217;s condition that every living thing must weep for Baldr &#8211; a demand thwarted by a single giantess, probably Loki in disguise. Both episodes are covered in detail on Hrafn: in the article on <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/myths\/the-death-of-baldr\/\">the death of Baldur<\/a> and in <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/myths\/hermods-ride-to-hel\/\">Herm\u00f3\u00f0r&#8217;s ride to Hel<\/a>.<\/p>\n<p>In the game, virtually every role is swapped. Baldur&#8217;s mother is not Frigg but <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/freya\/\">Freya<\/a>. The spell is not a protective oath but a curse: Freya placed it on her son against his will, and the invulnerability comes at the price that Baldur can feel nothing at all &#8211; no pain, no touch, no joy. H\u00f6\u00f0r is absent entirely, Baldur is killed by Kratos, and the mistletoe works not as a projectile but as accidental contact that breaks the spell.<\/p>\n<p>One detail, however, speaks for the developers. Snorri&#8217;s Baldr is a gentle, universally beloved god; the game shows an aggressive, destructive hunter. But that is precisely how Baldr appears in the second major tradition: in Saxo Grammaticus&#8217;s <em>Gesta Danorum<\/em>, Balderus is a warlike demigod who fights the mortal hero H\u00f8therus in several battles over a woman, Nanna, and is finally defeated by him. There is nothing there about oaths, mistletoe magic or Hel. Which of the two versions is older is an open question in scholarship. The game&#8217;s Baldur is thus unintentionally closer to a genuine variant of the tradition than a comparison with Snorri alone would suggest.<\/p>\n<h2>Freya and Frigg: a mix-up with a research history<\/h2>\n<p>That the game has Freya take over Frigg&#8217;s role looks at first like a simple mix-up. In the tradition these are two figures: Frigg is Odin&#8217;s wife and belongs to the \u00c6sir; Freya is one of the Vanir, sister of Freyr, associated with love, fertility, <em>sei\u00f0r<\/em> and half of the slain. In the game Frigg is absent altogether and Freya absorbs her functions.<\/p>\n<p>What makes this interesting is that the merger touches a real point of scholarly contention. The so-called Frigg and Freyja common origin hypothesis holds that both figures descend from a shared Proto-Germanic goddess. The main argument is linguistic: Frigg is broadly attested outside Scandinavia &#8211; Old English <em>Fr\u012bg<\/em>, Old High German <em>Fr\u012bja<\/em>, both from Proto-Germanic <em>*Frijj\u014d<\/em> &#8211; whereas the name Freyja and the Vanir as a group are attested only in Scandinavia. The hypothesis is not proven; Stephan Grundy has stressed that the pre-Viking-Age evidence is too thin to decide the matter. But the separation of the two goddesses is not nearly as self-evident as a quick error report would imply.<\/p>\n<h2>Atreus is Loki: the game&#8217;s cleverest turn<\/h2>\n<p>The revelation that Kratos&#8217;s son Atreus is <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/loki\/\">Loki<\/a> is the twist that takes the series furthest from the sources &#8211; and at the same time the one worked out with the greatest care.<\/p>\n<p>In the tradition, Loki is the son of the giant F\u00e1rbauti and of Laufey. What is unusual is that he is named almost consistently after his mother: <em>Laufeyjarson<\/em>, Laufey&#8217;s son. Such matronymics are rare in Old Norse, and it is exactly this detail the game picks up when it names Atreus&#8217;s dead mother Laufey. Anyone who knows the source sees the reveal coming hours before the character does.<\/p>\n<p>The father, by contrast, does not fit: no version features a Greek god. Nor is Loki related to Odin &#8211; the sources make the two blood brothers, which denotes an alliance, not descent. The game is again consistent about Loki&#8217;s offspring: in the Prose Edda he fathers three children with the giantess Angrbo\u00f0a &#8211; the wolf Fenrir, the Midgard serpent J\u00f6rmungandr, and Hel, ruler of the dead. Angrbo\u00f0a appears in the second game as a companion of Atreus&#8217;s own age, and the suggestion that J\u00f6rmungandr descends from him through a time loop is, in substance, exactly the kinship the sources assert.<\/p>\n<p>The real inversion lies elsewhere. In Snorri, Loki steers the ship Naglfar at the world&#8217;s end and leads the powers against the gods; in the <em>V\u00f6lusp\u00e1<\/em> itself the ship comes from the east under the giant Hrymr. In the game, Loki stands with the characters the audience roots for. The adversary becomes the hero &#8211; that is not an inaccuracy but a deliberate decision.<\/p>\n<h2>M\u00edmir&#8217;s head: remarkably close to the source<\/h2>\n<p>The series&#8217; smartest move is also its oddest: a severed, talking head as a companion. The episode is not in the Eddas but in the <em>Ynglinga saga<\/em>, with which Snorri opens his <em>Heimskringla<\/em>. There the \u00c6sir and Vanir exchange hostages after their war; M\u00edmir and H\u0153nir go to the Vanir. When H\u0153nir proves incapable of decision without M\u00edmir&#8217;s counsel, the Vanir feel deceived and behead M\u00edmir. Odin embalms the head with herbs, chants spells over it and consults it thereafter in difficult situations.<\/p>\n<p>The game takes over this core almost unchanged: Mimir is Odin&#8217;s adviser, is beheaded, and thereafter serves as a talking head and walking memory. What is shifted is the agency &#8211; it is not the Vanir who behead him but Kratos, at Mimir&#8217;s own request, after <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/odin\/\">Odin<\/a> had kept him bound to a tree for over a century. The head is revived by Freya&#8217;s magic rather than Odin&#8217;s herbs. That M\u00edmir also appears in the Eddas as guardian of the well beneath the world tree, in which Odin&#8217;s pledged eye lies, is left aside by the games; whether that is even the same figure is disputed in scholarship anyway.<\/p>\n<h2>Thor, Magni and Modi: right names, wrong outcome<\/h2>\n<p><a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/thor\/\">Thor<\/a> is, in the sources, the protector of Midgard against the giants: red-bearded, quick to anger, but at heart a force for order. His adventures &#8211; the <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/myths\/the-theft-of-thors-hammer\/\">theft of his hammer<\/a>, the journey to \u00datgar\u00f0a-Loki, the duel with Hrungnir &#8211; describe a god who can be outwitted but is seldom cruel.<\/p>\n<p>The game presents him as Odin&#8217;s embittered enforcer, alcoholic and damaged by his own violence. That is a strong reinterpretation, but not one that openly contradicts the sources: Thor kills giants by the dozen there, and in the <em>Lokasenna<\/em> his only argument is the threat of the hammer.<\/p>\n<p>What clearly departs from the tradition is the fate of his sons. According to the <em>Vaf\u00fer\u00fa\u00f0nism\u00e1l<\/em>, Magni and Modi are among the few who survive Ragnar\u00f6k; after the world fire they inherit Mj\u00f6lnir and stand for the new beginning. In the game both die long before the apocalypse starts. And Thor&#8217;s own end is swapped: in the <em>V\u00f6lusp\u00e1<\/em> he kills the Midgard serpent, takes nine steps and dies of its venom &#8211; in the game Odin kills him.<\/p>\n<h2>Odin: disenchanted, but not falsified<\/h2>\n<p>The Odin of the games is a suspicious schemer, obsessed with the question of what comes after death and willing to sacrifice anyone for the answer. To anyone who knows Odin only as the wise All-Father, this feels like a break. The sources, however, largely support this reading: Odin breaks oaths, sows discord, decides battles capriciously, and in the <em>Lokasenna<\/em> is openly accused of unreliability.<\/p>\n<p>What the game removes is the sacral dimension. In the <em>H\u00e1vam\u00e1l<\/em>, Odin hangs self-sacrificed for nine nights on the world tree to win the runes; at the well beneath its root he pledges an eye for a single drink. This willingness to stake his own body for knowledge makes his hunger for wisdom something other than mere consolidation of power. In the game the hunger remains and the sacrifice falls away.<\/p>\n<h2>T\u00fdr: the god without the missing hand<\/h2>\n<p>With <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/tyr\/\">T\u00fdr<\/a> the game takes its most conspicuous liberty. In the Prose Edda the gods lure the wolf Fenrir into the fetter Gleipnir. Because the wolf suspects a trick, he demands a pledge: one of the gods is to place a hand in his jaws. Only T\u00fdr does it &#8211; and loses the hand when the fetter holds. That single gesture makes him the god who places law and oath above his own bodily integrity; his domain covers war and the legal order of the assembly, as described on Hrafn in the article on the <a href=\"https:\/\/hrafn-wikinger.com\/en\/vikings\/society\/thing-norse-assembly\/\">Thing<\/a>.<\/p>\n<p>The T\u00fdr of the games is a pacifist and world traveller who maintained contact with foreign pantheons and was imprisoned by Odin &#8211; and he has both hands. The loss, the single most defining attribute of the figure, does not appear. That the figure one initially frees in the second game turns out to be Odin in disguise is narratively elegant, but changes nothing about this. His end is missing too: in Snorri, T\u00fdr and the hound Garmr kill one another at Ragnar\u00f6k.<\/p>\n<h2>The Nine Realms: an order that never existed in this form<\/h2>\n<p>The games present the nine realms as travel destinations linked by Yggdrasil and the rainbow bridge &#8211; a neatly sorted cosmos with a map. That order is precisely what the sources do not provide.<\/p>\n<p>The number nine appears in the <em>V\u00f6lusp\u00e1<\/em> without the realms being listed. Snorri describes three roots of the world tree and names various places in various passages without ever assembling them into a system. The familiar list of Asgard, Midgard, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/jotunheim\/\">J\u00f6tunheim<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/alfheim\/\">Alfheim<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/svartalfheim\/\">Svartalfheim<\/a>, Vanaheim, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/niflheim\/\">Niflheim<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/muspelheim\/\">Muspelheim<\/a> and <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/helheim\/\">Helheim<\/a> is largely the ordering work of later editors and modern popularisations. That the first game omitted Vanaheim and the second supplied it is therefore no breach of a canon &#8211; there is no binding canon. The <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/worlds\/bifrost\/\">Bifr\u00f6st<\/a>, by contrast, is attested, though as a bridge of the gods rather than a freely usable travel portal.<\/p>\n<h2>Ragnar\u00f6k: who kills whom<\/h2>\n<p>The apocalypse itself allows the sharpest comparison, because the <em>V\u00f6lusp\u00e1<\/em> and Snorri&#8217;s <em>Gylfaginning<\/em> name the pairings explicitly. There, Odin falls to the wolf Fenrir and is avenged by his son <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/vidar\/\">V\u00ed\u00f0arr<\/a>. Thor and the Midgard serpent kill each other. So do <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/heimdall\/\">Heimdall<\/a> and Loki. Freyr falls to the fire giant Surtr, T\u00fdr to Garmr, and in the end the burnt world sinks into the sea before rising again. It is preceded by the Fimbulwinter, three winters with no summer between them.<\/p>\n<p>In the game almost none of these pairings hold. Odin is not killed by Fenrir but confronted by Kratos and Atreus, his soul afterwards shattered by Sindri. Thor dies at Odin&#8217;s hand. Heimdall falls to Kratos, not to Loki. Fenrir&#8217;s soul passes into another body. T\u00fdr survives. Surtr himself becomes Ragnar\u00f6k and destroys Asgard. And in the game the Fimbulwinter begins as the direct consequence of Baldur&#8217;s death &#8211; in the tradition it precedes the end, but without that cause.<\/p>\n<h2>The real break is not about facts<\/h2>\n<p>All the deviations so far are matters of detail compared with what the games do to the central concept of the Norse worldview. In the tradition, fate &#8211; Old Norse <em>\u00f8rl\u01ebg<\/em> &#8211; is inescapable. The gods know the prophecy, they know their own deaths, and they march out regardless. Precisely this stance, accepting the unavoidable with dignity, is the ethical core of the material.<\/p>\n<p>The games turn it upside down. Their running theme is that prophecies can be broken, that characters may refuse their assigned roles, that the future is negotiable. Narratively this works, and it makes the series far more than an illustration of old texts. But it is the deepest deviation of them all &#8211; not a wrong date or a swapped name, but a different notion of what a myth even claims.<\/p>\n<h2>Conclusion: retelling with open cards<\/h2>\n<p>Where the sources are dense, <em>God of War<\/em> often works surprisingly precisely: M\u00edmir&#8217;s head, Loki&#8217;s matronymic, Angrbo\u00f0a and J\u00f6rmungandr, the mistletoe as Baldur&#8217;s weak point, the broad shape of the apocalypse. Where the game departs, it rarely does so out of ignorance, but because a role is needed &#8211; a mother for Baldur, a father for Loki, an opponent for Kratos.<\/p>\n<p>The series is at its most honest where it exposes its own method. For myths were never a fixed text. Snorri ordered them and rewrote them in the process, Saxo tells Baldr&#8217;s story entirely differently, and the poems of the Codex Regius contradict one another in several places. <em>God of War<\/em> essentially does what medieval authors did: retell, and alter in the retelling. The difference is that the games do it knowingly.<\/p>\n<p>Readers who want to know how these figures look in the sources will find the Hrafn profiles of <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/odin\/\">Odin<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/thor\/\">Thor<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/loki\/\">Loki<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/baldr\/\">Baldr<\/a>, <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/freya\/\">Freya<\/a> and <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/gods\/tyr\/\">T\u00fdr<\/a>, as well as the full retelling of <a href=\"https:\/\/hrafn-wikinger.com\/en\/mythology\/myths\/the-death-of-baldr\/\">the death of Baldur<\/a>.<\/p>\n<div class=\"hrafn-callout\">\n<span class=\"hrafn-callout-title\">Want to play God of War yourself?<\/span><\/p>\n<p>Both Norse instalments are available for PlayStation and PC. <em>God of War<\/em> came to PC in 2022, <em>God of War Ragnar\u00f6k<\/em> in September 2024. You can find the PC editions at Instant Gaming: <a href=\"https:\/\/www.instant-gaming.com\/en\/7325-buy-god-of-war-pc-game-steam-europe\/?igr=gamer-426deff\" target=\"_blank\" rel=\"noopener noreferrer sponsored\">God of War<\/a> &#183; <a href=\"https:\/\/www.instant-gaming.com\/en\/16797-buy-god-of-war-ragnarok-pc-steam\/?igr=gamer-426deff\" target=\"_blank\" rel=\"noopener noreferrer sponsored\">God of War Ragnar\u00f6k<\/a><\/p>\n<p><em>Advertisement: affiliate links. If you buy through them, we receive a commission. The price stays the same for you.<\/em><\/p>\n<\/div>\n<h2>Sources<\/h2>\n<p>The mythological material in this comparison rests on the Poetic Edda as transmitted in the Codex Regius, in particular the <em>V\u00f6lusp\u00e1<\/em> for Ragnar\u00f6k, the <em>H\u00e1vam\u00e1l<\/em> for Odin&#8217;s self-sacrifice, the <em>Vaf\u00fer\u00fa\u00f0nism\u00e1l<\/em> for the survival of Magni and Modi, and the <em>Lokasenna<\/em> for the gods&#8217; picture of one another. To this is added Snorri Sturluson&#8217;s Prose Edda, above all <em>Gylfaginning<\/em> for Baldr&#8217;s death, Fenrir&#8217;s binding and the cosmology, and the Prologue for the derivation of the \u00c6sir from Troy. The account of M\u00edmir&#8217;s beheading comes from the <em>Ynglinga saga<\/em> in Snorri&#8217;s <em>Heimskringla<\/em>. The divergent Baldr version is found in Saxo Grammaticus&#8217;s <em>Gesta Danorum<\/em>. For the relationship between Frigg and Freyja, the common origin hypothesis as discussed by Stephan Grundy was consulted.<\/p>\n<p>As with any engagement with Norse mythology: the decisive manuscripts were produced two to almost three centuries after the Christianisation of Iceland, their authors were Christians, and how much pre-Christian substance they preserve is disputed from text to text. There is no \u201eoriginal&#8220; against which a game could be measured.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Spartan god of war scatters his wife&#8217;s ashes from a mountain in Midgard: that is how God of War (2018) begins, and by way of God of\u2026<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"hrafn_pipeline_status":"","hrafn_quelle":"","hrafn_flags_offen":0,"hrafn_kritik":"","hrafn_master_hash":"","hrafn_notion_id":"","hrafn_bibliothek":"","hrafn_fakten":"","footnotes":""},"categories":[79],"tags":[],"class_list":["post-2174","post","type-post","status-publish","format-standard","hentry","category-mythology-check"],"_links":{"self":[{"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/posts\/2174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/comments?post=2174"}],"version-history":[{"count":6,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/posts\/2174\/revisions"}],"predecessor-version":[{"id":2913,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/posts\/2174\/revisions\/2913"}],"wp:attachment":[{"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/media?parent=2174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/categories?post=2174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hrafn-wikinger.com\/en\/wp-json\/wp\/v2\/tags?post=2174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}