Hubbry Logo
GiantessGiantessMain
Open search
Giantess
Community hub
Giantess
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Giantess
Giantess
Giantess
View on Wikipedia
from Wikipedia
Giantess Anna Haining Bates (née Swan) with her parents.

Giantesses are imaginary, gigantic women. They are widely believed to be mythological by the humans of modern-day, since the term "giantess" is so generic, it seems possible to describe female giants not native to Earth which fall under the very forgiving criteria as giantesses. This includes the female giant: either a mythical being, such as the Amazons of Greek mythology, resembling a woman of superhuman size and strength or a human woman of exceptional stature, often the result of some medical or genetic abnormality (see gigantism).

Polytheism and mythology

[edit]
The Titanide Eos pursues the object of her affection, the reluctant Tithonos, on an Attic oinochoe of the Achilles Painter, ca. 470 BC–460 BCE (Louvre)

Baltic mythology

[edit]

In 543, according to the folk etymology for the name of Neringa Municipality, there was a giantess girl named Neringa on the seashore formed the Curonian Spit, who helped fishermen.[1]

Greek mythology

[edit]

The Titanides, sisters and children of Titans, may not have originally been seen as giants, but later Hellenistic poets and Latin ones tended to blur Titans and Giants. In a surviving fragment of Naevius' poem on the Punic war, he describes the Gigantes Runcus and Purpureus (Porphyrion):

Inerant signa expressa, quo modo Titani
bicorpores Gigantes, magnique Atlantes
Runcus ac Purpureus filii Terras.

Eduard Fraenkel remarks of these lines, with their highly unusual plural Atlantes, "It does not surprise us to find the names Titani and Gigantes employed indiscriminately to denote the same mythological creatures, for we are used to the identification, or confusion, of these two types of monsters which, though not original, had probably become fairly common by the time of Naevius".[2] Other giantesses in Greek myth include Periboea, the princess of the giants that participated in the Gigantomachy, and the queen and princess of the Laestrygonians who participated in the attacking and devouring of Odysseus' crew.

Nordic mythology

[edit]
Main article: Jötunn
Enslaved gýgjar Fenja and Menja plot revenge against their selfish owner, King Fróði

Female jötnar have a prominent role in Nordic mythology, where they are referred to as gýgr, íviðja and tröllkona. While these terms are often glossed as "giantess", in texts containing the oldest traditions, they are often not notably large and the terms are often left untranslated.[3][4][5]

Notable gýgjar include:

  • Gríðr - a gýgr who saved Thor's life. She was aware of the jötunn Geirrod's plans to get Thor killed and sets out to help him by supplying him with a belt of strength, a pair of magical iron gloves, and a magical wand.[6]
  • Gerðr - A beautiful gýgr with whom Freyr fell in love at first sight, as told in Skírnismál. After marrying him, she became the mother of the mythic Swedish king Fjölnir.[6]
  • Skaði - The daughter of Þjazi, whom the gods had killed. After journeying to Ásgarðr from Þrymheimr, she agreed that she would renounce her vengeance on two conditions: that they allow her to choose a husband from among them, and that they succeed in making her laugh. The gods allowed her to choose a husband, but she had to choose him only from his feet; she choose Njörðr because his feet were so beautiful that she thought he was Baldr. Then Loki succeeded in making her laugh, so peace was made, and Odin made two stars from Þjazi's eyes. After a while, she and her husband separated because she loved the mountains, while he wanted to live near the sea in Nóatún.[6]
  • Hyrrokin - A gýgr who came riding on a wolf to Baldr's funeral and gave the ship he had been lain upon such a push that fire flashed from the rollers and all the earth shook.[6]
  • Thokk - The only being who refused to weep upon Baldr's death, resulting in Hel not releasing the god from the underworld until after Ragnarök. According to Snorri Sturluson, Thokk was Loki in disguise.[6]

Hinduism

[edit]

Giantesses are fairly common in the Hindu religion. The demoness Putana (who attempted to kill the baby Krishna with poisoned milk from her breasts) is usually drawn as a giantess.[7]

Celtic mythology

[edit]

Giantesses are common in the folklore of Britain and Ireland, Scotland and Wales. A notable giantess in Irish mythology is Bébinn who comes from a kingdom known as "The Land of Maidens" which is entirely populated by other giantesses, who are her one hundred and forty nine sisters, with the only males in her land being her father and three brothers.

Turkish folklore

[edit]

In Turkish folklore, a man sucking milk of a "giant mother" (dev anası) is a common narrative. In this theme, a man is supposed to drink the milk of a giantess without being noticed. Thus, he will become an adoptive child of her and the giantess will not attack him. Those motives are encountered in stories such as Altın Bülbül (Golden Nightingale) and Seksen Göz (Eighty Eyes).[8]

Modern art and literature

[edit]

Books

[edit]

In Lewis Carroll's story Alice's Adventures in Wonderland, there are several scenes where the heroine Alice grows to giant size by means of eating something (like a cake or a mushroom). Similarly Arthur C. Clarke's story Cosmic Casanova describes an astronaut's revulsion at discovering that an extraterrestrial female he adored on a video screen is in fact thirty feet tall.

Comics

[edit]

Size-changing heroines have appeared in such comics as Doom Patrol, Mighty Avengers, Marvel Adventures Avengers, Team Youngblood, and Femforce. In the latter series, the giantess-superheroines Tara and Garganta combine immense size and strength with beauty and femininity, and have a cult following among both men and women. Conversely, size-changing villainesses, such as Wonder Woman foe Giganta, use their strength and beauty for less altruistic purposes as a weapon to crush their foes. Giantesses are also common in the manga and anime mediums of Japan. She-Hulk's nickname is "The Jade Giantess", due to the main character growing in size and more powerful when becoming She-Hulk.

The giantess also appears in modern-day art, illustration and fashion. UK based illustrator Emma Melton has used the giantess as a symbol in her illustrated fashion line 'Blessed by a Giantess', which aims to promote healthy body image in young girls and spread the message that 'We are all beautiful.[9]

Motion pictures

[edit]
Poster of Attack of the 50 Foot Woman

The giantess theme has also appeared in motion pictures, often as a metaphor for female empowerment or played for absurd humor. The 1958 B-movie Attack of the 50 Foot Woman formed part of a series of size-changing films of the era which also included The Incredible Shrinking Man, The 30 Foot Bride of Candy Rock, and Village of the Giants. The 1993 remake of Attack of the 50 Foot Woman, starring Daryl Hannah in the title role, was advertised as a comedy; many scenes did parody earlier size-changing movies (most notably The Amazing Colossal Man), although the central theme was feminist. The heroine Nancy, formerly a cipher to her domineering father and husband, is empowered by her new-found size and starts to take control of her destiny, and encourages other women to do the same.

In Dude, Where's My Car?, five nubile female characters morph into an extraterrestrial 20 foot tall giantess played by Jodi Ann Paterson who picks up one of the characters and eats him. Talk to Her features a sequence in the style of early silent cinema called 'The Shrinking Lover,' where an accidentally shrunken scientist is rescued from his mother's clutches by his lover, who carries him home in her handbag. The shrunken scientist then roams his lover's body while she lies in bed. Monsters vs. Aliens features a satirization of Attack of the 50 Foot Woman in which the main protagonist, Susan Murphy, is clobbered by a radioactive meteor that causes her to grow up to 49 feet, 11½ inches, becoming Ginormica. In Attack of the 50 Foot Cheerleader, Cassie Stradford, a college student, steals a drug and injects herself with it to make her pretty. However, the drug had a side effect when she starts to grow taller and taller until she is a 50-foot-tall giantess. The Incredible Shrinking Woman, which parodies The Incredible Shrinking Man, ends with Lily Tomlin becoming a giantess.

Outside of Hollywood, giantesses have also appeared in special interest films. AC Comics giantess Garganta is featured in a live action DVD movie available from accomics.com entitled Gargantarama, which also includes giantess scenes from many movies as well as the feature length 1958 B-movie Attack of the 50 Foot Woman. Embracing the use of the giantess in popular culture, AC has made it a frequently recurring theme in their products.

Giantesses have also appeared in advertisement campaigns, with similar erotic/humorous intent. In 2003, a commercial for the Italian company Puma featured the theme. The giantess, played by model/actress Valentina Biancospino, stomps around town causing havoc and swallowing a man whole before finally picking up a man (played by Italian footballer Gianluigi Buffon) and kissing him.

Natasha Stefanenko plays a giantess in the Italian advert Natasha Stefanenko : La gigantessa, where she rescues a horse from a spaceship and puts it back in its place and she accidentally breaks a building by sitting on it and Anna Campori provides the voice of Natasha in this advert.

Giantesses have also appeared in some television series such as Genie in the House, Snorks, Schoolhouse Rock, Jackie Chan Adventures, Braceface, The Electric Company, The Muppet Show, Dexter's Laboratory, Futurama, Justice League Unlimited, Animaniacs, Toonsylvania, Kids Next Door, Archie's Weird Mysteries, Harley Quinn, The Powerpuff Girls in Attack of the Fifty Footed Woman, Totally Spies! episode in Attack Of The 50 Ft Mandy, Phineas and Ferb, Rick and Morty, The 7D, The Grim Adventures of Billy & Mandy, Disenchantment, The Cuphead Show!, Jelly Jamm and American Dragon: Jake Long. The Snorks episode "The Littlest Mermaid" features a scene where a mermaid grows into a giantess caused by a machine. The Schoolhouse Rock episode "Unpack Your Adjectives" includes a scene where a tall girl grows into a 34-foot giantess, causing only her legs and sandals to be seen. She then stomps on a small boy who wouldn't stop laughing at how tall she grew. In the first episode of The Electric Company, Judy Graubart grows into a giantess while holding up a sign for the kid audience to read that says "giant".

Music videos

[edit]

Pamela Anderson plays a giantess version of her V.I.P. Character Vallery Irons in the music video for "Miserable" by the rock group Lit. In the video, the band members perform on Anderson's body and are eventually devoured by her at the end, serving as a metaphor for women who are "maneaters."

Kylie Minogue appears as a giantess in the music video for the single "Giving You Up".[10]

Lana Del Rey plays a giantess walking around Los Angeles in the music video for her cover of Sublime's "Doin' Time".

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Giantess

View on Grokipedia
from Grokipedia
A giantess is a female giant, depicted in mythology, folklore, and literature as a woman possessing superhuman size, strength, and often formidable power. These figures appear across various cultural traditions, notably in Norse mythology where giantesses such as Skaði, a hunter and wife to the sea god Njörðr, embody wilderness and independence, while others like Gerðr serve as symbols of beauty and light amid giant kin. In Old Norse sagas, giantesses frequently act as foster-mothers to heroes, blending nurturing roles with erotic undertones and magical elements that highlight tensions between human and supernatural realms. Historically, women exhibiting extreme height due to conditions like gigantism were labeled and exhibited as giantesses; Anna Haining Swan, born in 1846 in Nova Scotia, grew to over 2.4 meters (7 feet 11 inches) tall and toured internationally as a curiosity until her death in 1888. Such real-world cases underscore the archetype's roots in observable human variation, though mythological giantesses typically transcend mortal limits, representing chaos, fertility, or divine opposition in narratives from Greek Amazons to Celtic legends.

Definition and Conceptual Overview

Etymology and Linguistic Origins

The term giantess emerged in English around 1380 as a feminine derivative of giant, formed by appending the suffix -ess, which indicates female gender and traces to Old French -esse from Latin -issa (itself from Greek -issa). This suffix was commonly employed in Middle English to feminize nouns, adapting them for mythological or descriptive use in literature and chronicles. The word's first attestations appear in texts like Sir Ferumbras, where it denoted a mythical female of enormous stature akin to male giants in folklore. The base noun giant entered English circa 1300 from Old French geant or jaiant (12th century), derived from Vulgar Latin gagantem (nominative gagas), a variant of classical Latin gigas borrowed directly from Ancient Greek gigas (γίγας), the singular form of Gigantes—the race of earth-born colossal beings in Hesiod's Theogony (c. 700 BCE). Greek gigas lacks a clear Indo-European cognate and is posited to originate from a pre-Greek Mediterranean substrate language, with etymological proposals linking it to non-Indo-European roots rather than derivations like gegenēs ("earth-born," from gē "earth" + genēs "born"), which philologists consider untenable due to phonological and semantic mismatches. Linguistically, giantess thus reflects a Greco-Latin importation into Romance and then Germanic languages, distinct from native Indo-European terms for oversized beings in other traditions—such as Proto-Germanic etunaz (yielding Old Norse jötunn, possibly from a root denoting "devourer" or "glutton" tied to PIE *ed- "eat")—highlighting how the English term prioritized classical mythological borrowing over indigenous roots. This adoption facilitated its use in medieval European texts to evoke shared classical imagery of female titans or ogresses, without implying biological realism.

Anthropological and Biological Analogues

Biological analogues to giantesses appear in rare human cases of gigantism, a pathological condition caused by excessive growth hormone production from a pituitary adenoma prior to the closure of epiphyseal growth plates, resulting in proportional but extreme stature. This disorder affects fewer than three individuals per million annually and is more commonly documented in males due to diagnostic and survival biases, though females exhibit similar mechanisms when afflicted. Heights exceeding 7 feet (213 cm) occur, but biomechanical limits—such as cardiovascular strain and joint degeneration—prevent sustainable human gigantism beyond approximately 8-9 feet, as evidenced by historical records and modern endocrinology. One of the most prominent historical examples is Anna Haining Swan (1846–1888), a Canadian woman who attained a verified height of 7 feet 11 inches (241.3 cm) by age 17, measured during her time in exhibition circuits. Born to average-height Scottish immigrant parents in Nova Scotia, Swan exhibited rapid growth from infancy, reaching 4 feet 6 inches by age four and over 7 feet by her early teens, consistent with pituitary-driven gigantism. She married Martin Van Buren Bates, a 7-foot-9-inch American giant, in 1871, forming the tallest recorded couple; their son weighed 18 pounds at birth but died young, highlighting reproductive challenges in such cases. Swan toured with P.T. Barnum's circus, where her stature fueled public fascination, though medical examinations confirmed no disproportionate acromegaly features typical in untreated adults. She died at age 41 from heart failure, a common outcome in untreated gigantism due to organ hypertrophy. Anthropological parallels are scant and indirect, often involving cultural exaggerations of tall female figures rather than empirical evidence of giant populations. In various indigenous traditions, such as certain Native American tribal lore, oversized beings include female entities, potentially inspired by encounters with exceptionally tall individuals or misinterpretations of skeletal remains, though no verified giantess fossils exceed modern pathological maxima. Human sexual dimorphism favors male height on average (women ~10-15% shorter globally), but rare polygenic tallness in women—compounded by nutrition—may have been mythologized in oral histories, as seen in Scottish "hag" figures described as gigantic, reflecting perceptual distortions of stature in pre-modern societies. Unlike male giants, whose remains occasionally surface in archaeological contexts (e.g., Roman-era overgrowth syndromes), female analogues lack robust skeletal corroboration, underscoring that giantess motifs likely stem from symbolic amplification rather than widespread biological reality. Modern genetics attributes extreme height variance to mutations like those in the IGF1 pathway, with no population-level "giantess" cohorts identified beyond clinical outliers.

Mythological and Folkloric Depictions

Greco-Roman Traditions

In Greek mythology, depictions of giantesses are rare compared to male giants such as the Gigantes, who were primarily earth-born warriors challenging the Olympian gods in the Gigantomachy. Female counterparts typically appear as members of peripheral giant tribes or as hybrid offspring, emphasizing themes of isolation, monstrosity, or alliance with primordial forces rather than direct cosmic rebellion. These figures derive from ancient sources like Homer's Odyssey and later compilations by Apollodorus, portraying them with immense stature but limited agency in major theogonic conflicts. Prominent examples include the Laestrygonian giants encountered by Odysseus, a cannibalistic tribe ruled by King Antiphates. His unnamed wife is described as towering "like a mountain peak," while their daughter is characterized as "tall and powerful," both contributing to the slaughter of the hero's men by hurling boulders and devouring sailors. Similarly, Periboea (or Periboia), the youngest daughter of the giant king Eurymedon—who commanded the Gigantes before his death at Apollo's hands during the Gigantomachy—was herself a giantess. She bore Nausithous, progenitor of the Phaeacians, to Poseidon, linking giant lineage to maritime civilizations. Other gigantic females include Cymopoleia, a massive daughter of Poseidon granted in marriage to the Hecatoncheir Briareus (one of the hundred-handed giants) as recompense after the Titanomachy, symbolizing uneasy truces between divine and primordial powers. Her sister Oeolyca, also born to Briareus, inherits the family's enormous scale, though details of her exploits remain sparse. Roman mythology, heavily syncretic with Greek traditions, adopts these figures without significant alteration or addition of unique giantesses, as evidenced in Virgil's Aeneid and Ovid's Metamorphoses, which echo Homeric and Hesiodic accounts of oversized, chaotic beings subdued by civilized order.

Norse and Germanic Lore

![Fenja and Menja operating the Grotti mill]float-right In Norse mythology, giantesses, referred to as gýgjar or female jötnar, are supernatural beings embodying primal natural forces, often contrasting with the order of the Æsir gods while occasionally allying through kinship or marriage. These figures appear prominently in the Poetic and Prose Eddas, where they exhibit immense strength, prophetic abilities, and ties to chaos or fertility. Unlike the male jötnar, who frequently symbolize destructive elemental powers, giantesses sometimes integrate into divine society, as seen in unions producing key deities or heroes. Skaði, daughter of the jötunn Þjazi, exemplifies the giantess's dual role as avenger and reluctant consort. After the gods killed her father during his eagle pursuit of Idunn, Skaði armed herself and marched to Asgard demanding compensation; the Æsir offered her a husband from among them, selected by her viewing only their feet, leading to her pairing with the sea god Njörðr. Their marriage failed due to incompatible habitats—Skaði's mountainous preferences clashing with Njörðr's coastal affinity—highlighting tensions between jötunn wildness and Æsir domesticity. Skaði is linked to winter, skiing, and bowhunting, attributes reflecting her high-mountain origins. Angrboða, a jötunn from Járnviðr in Ironwood, served as Loki's consort and mother to the progeny Fenrir the wolf, Jörmungandr the Midgard Serpent, and Hel the ruler of the underworld, figures central to Ragnarök prophecies. Her name, meaning "bringer of sorrow," underscores her association with foreboding and monstrosity, positioning her as a source of existential threats to the gods. This lineage illustrates giantesses' role in generating chaos agents that challenge cosmic order. Gerðr, daughter of the jötunn Gymir and the giantess Aurboða, represents beauty and fertility among giantesses; courted by Freyr, she became his wife after he sacrificed his sword, a decision prophesied to cost him at Ragnarök. Her abduction by the god Skírnir via threats and magical coercion reflects power imbalances in intermarriages, yet her Æsir union symbolizes seasonal renewal. Fenja and Menja, bondswomen of prodigious strength purchased by the Danish king Fróði, operated the enchanted mill Grotti, capable of grinding out wealth or calamity. Initially producing gold, their relentless labor—enforced without rest—prompted prophetic verses foretelling Fróði's doom; they then ground salt to flood the land and summon an invading army led by Mysinger, ending his peaceful reign. As giant maidens able to hurl boulders in youth, they embody exploited might turning vengeful, a motif in the Eddic poem Gróttasöngr. Broader Germanic lore, fragmented by Christian suppression, yields fewer distinct giantess accounts, with Norse traditions preserving the richest corpus through Iceland's sagas and Eddas. Continental sources, such as the Nibelungenlied, echo giant-like female figures in motifs of otherworldly strength but lack the detailed jötunn genealogy.

Celtic and Baltic Influences

In Gaelic Celtic traditions, the Cailleach (meaning "old hag" or "veiled one") represents a archetypal giantess linked to landscape formation and winter dominion. Folklore accounts describe her as a colossal figure who sculpted Ireland's terrain by casting massive boulders from her apron while traversing the land, forming hills and mountains such as those in County Kerry and the Beara Peninsula. Variants like the Cailleach Bhéara portray her as an ancient Irish giantess embodying seasonal renewal and decay, wielding a staff or hammer to hammer out rivers and lakes, with her activities tied to pre-Christian rituals observed as late as the 19th century in Highland Scotland. These depictions emphasize her role as a primordial earth-shaper, distinct from heroic giants, often blending divine agency with hag-like ferocity in oral narratives collected in the 18th and 19th centuries. The Fenian Cycle includes tales of antagonistic or integrative giantesses, such as Viviann (or Vivionn), a towering female kin of giants who strides into a camp of Fionn Mac Cumhaill's warriors, demanding hospitality and showcasing the physical disparity between human heroes and gigantic foes. In this episode, preserved in medieval Irish manuscripts like the 15th-century Duanaire Finn, Viviann's immense stature enables her to consume vast quantities of food, underscoring themes of otherworldly appetite and negotiation rather than outright combat. Welsh folklore echoes similar motifs in legends of Branwen or unnamed giantesses credited with megalithic constructions, such as the apron-scattered stones at Barclodiad y Gawres on Anglesey, interpreted as remnants of a giantess's labor around 2000 BCE, though archaeological evidence attributes the site to Neolithic burial practices. Baltic traditions, particularly Lithuanian coastal lore, feature Neringa as a benevolent giantess who resided along the Baltic Sea, using her prodigious strength to defend the Curonian Lagoon by flinging handfuls of sand that amassed into the Curonian Spit's dunes, a landform spanning 98 kilometers and forming around the 1st millennium CE. This 16th-century legend, rooted in pre-Christian folklore and documented in ethnographic records from the 19th century, casts Neringa as a protector against encroaching waters, whose beauty drew a persistent suitor whom she ultimately drowned in the lagoon, symbolizing harmony between human-scale threats and cosmic-scale guardianship. In broader Baltic mythology, figures like the woodland huntress Medeina occasionally exhibit giantess traits, appearing as a bear-skinned colossus who admonishes forest overexploitation, reflecting animistic ties to nature preserved in 19th-century Latvian and Lithuanian folk songs. These narratives, less systematized than Celtic ones due to historical Christianization and limited written sources before the 19th century, prioritize environmental agency over warfare.

Non-European Examples

In Japanese yōkai lore, the takaonna, or "tall woman," manifests as a female spirit capable of stretching her body to extraordinary heights, often to peer into private spaces such as brothels and mock or envy the inhabitants within. First illustrated by artist Toriyama Sekien in his 1776 emaki Gazu Hyakki Yagyō, this figure draws from Edo-period urban anxieties about surveillance and moral judgment by women excluded from male-dominated pleasure districts. In Turkish folklore, Dev Anası, or "Giant Mother," appears in narratives such as those featuring the trickster hero Keloğlan, where she is depicted as a powerful giantess embodying ogress-like traits and maternal authority, often engaging in confrontations that highlight themes of strength, cunning, and the triumph of wit over brute force. Among Indigenous peoples of the Americas, giantess archetypes recur in oral traditions as embodiments of natural perils, abundance, or cosmic origins. In Alsea folklore from the Oregon coast, Asin appears as a hulking, man-eating giantess who lurks in remote forests, capturing lone travelers in her enormous hands before consuming them alive, serving as a cautionary symbol of the dangers posed by unchecked wilderness. Similarly, the Kwakwaka'wakw of the Pacific Northwest depict Dzunuk'wa (also known as Tsonoqua or "Wild Woman of the Woods") as a towering, fur-clad ogress with a booming voice who raids villages to steal children, yet reveals a dual nature by rewarding clever captives with copper treasures and supernatural aid, as evidenced in traditional house posts and masks used in potlatch ceremonies. Chinook creation narratives from the Columbia River region feature an unnamed giantess who, after birds deposit stone eggs at the mountain's peak, propels five of them downslope; these eggs hatch into the ancestors of the five Chinookan tribes, underscoring themes of maternal agency in ethnogenesis and territorial dispersal around 1800 accounts recorded by early ethnographers. These depictions, preserved through storytelling and art rather than written texts, contrast with European counterparts by emphasizing ecological integration and ambivalence—giantesses as both devourers and progenitors—rooted in pre-colonial oral histories documented in the 19th and early 20th centuries by anthropologists like Franz Boas.

Symbolic Roles and Interpretations in Antiquity

Power Dynamics and Antagonism

In ancient mythologies, giantesses frequently embodied asymmetrical power structures, where their colossal stature and primal strength challenged the authority of gods or heroes, often manifesting as direct confrontation or existential threats to cosmic order. In Norse lore, Jötunn women exemplified this antagonism, serving as progenitors of chaos that undermined the Æsir's dominion; for instance, the giantess Angrboða, consort to Loki, bore Fenrir the wolf, Jörmungandr the serpent, and Hel the ruler of the dead, entities prophesied to contribute to the gods' downfall at Ragnarök. This maternal role highlighted a dynamic of unchecked generative power, positioning giantesses as catalysts for disorder rather than mere physical foes, with their offspring embodying inevitable conflict between primordial forces and structured divinity. Such tensions extended to interpersonal clashes, as seen with Skaði, a giantess who stormed Asgard seeking vengeance for her father Þjazi's slaying by the gods, compelling them to offer reparations through marriage—an uneasy alliance that ultimately dissolved due to incompatible realms, underscoring the friction between giantess autonomy and godly hierarchy. In Greco-Roman traditions, female giants were rarer but similarly disruptive; the wife and daughter of Antiphates, king of the cannibalistic Laestrygonians, were depicted as towering figures who aided in devouring Odysseus's crew, symbolizing barbaric, overwhelming might against civilized voyagers and evoking fears of unchecked territorial dominance. Titanesses, primordial deities of immense scale, further illustrated this through the Titanomachy, where figures like Rhea navigated allegiances amid the generational strife, her aid to Zeus against Cronus revealing strategic power plays within familial antagonism, though many Titanides retained neutrality to preserve prophetic influence post-conflict. These depictions reflected broader causal patterns in ancient narratives: giantesses' size connoted not just brute force but a metaphysical imbalance, where their antagonism enforced themes of hubris and retribution, often resolved through divine cunning or containment rather than equitable parity, privileging order over raw potency. In both traditions, unions between gods and giantesses—such as Njord with Skaði or Zeus's Titaness lineage—temporarily bridged dynamics but perpetuated latent hostility, foreshadowing cyclical upheavals like Ragnarök or the Gigantomachy.

Fertility and Chaos Archetypes

In ancient Greco-Roman mythology, Titanesses such as Rhea and Gaia exemplified the archetype of the giantess as a potent symbol of fertility intertwined with primordial chaos. Rhea, the Titaness daughter of Gaia and Uranus, served as the mother of the Olympian gods, embodying female fertility, motherhood, and generative flow—her name deriving from terms connoting "ease" and "flow" in ancient Greek. As queen of the Titans, she protected her offspring Zeus and his siblings by deceiving her husband Cronus, who devoured his children to avert prophecy, thus linking her nurturing role to disruptive acts against established Titan order. Gaia, the primordial earth goddess and progenitor of the Titans, represented boundless generative capacity as the mother of Uranus, the Titans, and later monstrous entities like the Gigantes, yet her origins from Chaos positioned her as an embodiment of unordered, fertile vastness preceding cosmic structure. These figures illustrate how giantesses channeled earth's prolific productivity while harboring chaotic potential, as seen in Gaia's role in inciting Titan rebellions against Olympian successors, reflecting causal tensions between creation and disorder in Hesiod's Theogony. Norse lore similarly cast jötunn women—female giants—as archetypes blending fertility with chaotic disruption, often as progenitors whose offspring threatened Asgard's ordered realm. Gerðr, a jötunn bride of the fertility god Freyr, symbolized abundance and earth's generative bounty, her union producing no direct heirs but evoking Vanir associations with growth and harvest in the Poetic Edda. Conversely, Angrboða, Loki's jötunn consort, epitomized chaotic fertility by birthing Fenrir the wolf, Jörmungandr the world-serpent, and Hel the death goddess, progeny foretold to wreak havoc at Ragnarök and thus banished by Odin to preserve cosmic balance. Jötunn females broadly functioned as maternal sources of both divine and monstrous lineages—such as Bestla, mother of Odin—underscoring their role in raw, uncontrolled proliferation that challenged Aesir hierarchy, as detailed in the Prose Edda where giants embody primordial forces of decay and entropy opposing godly structure. This dual archetype persisted across traditions, with giantesses like the Norse Fenja and Menja—enslaved to grind prosperity from the mythic mill Grotti—illustrating fertility's peril: their labor yielded wealth but, provoked, unleashed floods and destruction, symbolizing how unchecked generative power devolves into anarchy. In both corpora, the giantess thus causally mediated between life's teeming origins and existential threats, privileging empirical mythic patterns over sanitized interpretations; ancient sources portray their scale not merely as physical but as metaphysical amplifiers of nature's ambivalent bounty, where fertility's excess invites dissolution absent restraint. Scholarly analyses of these motifs, drawing from primary texts like Snorri Sturluson's accounts, affirm jötunn and Titan women as vectors of disorderly vitality, countering ordered pantheons forged from their own chaotic wombs.

Evolution into Modern Literature and Art

19th-Century Romantic Revivals

In the 19th century, Romanticism's valorization of the sublime—encompassing vastness, terror, and transcendent beauty—occasionally revived the giantess motif in literature, recasting ancient mythic figures as emblems of nature's untamed potency and human yearning for immersion in the colossal. This period's poets and writers, reacting against Enlightenment rationalism, drew on folklore and classical sources to evoke emotional intensity through exaggerated scale, where the giantess embodied both allure and menace. A seminal instance appears in Charles Baudelaire's sonnet "La Géante" (The Giantess), included in his 1857 collection Les Fleurs du Mal. The speaker expresses a desire to inhabit the epoch of Nature's "lusty spirit" birthing "monstrous children," dwelling "near a young giantess" like a "voluptuous cat at the feet of a queen." He fantasizes scaling her maturing form as a living topography: "her vast body... flowering with her soul," with "enormous knees" and landscapes implied in her form, explored amid her "terrible games" that stir both delight and dread. This portrayal infuses the archetype with personal eroticism and melancholy, transforming mythic gigantism into a subjective reverie of sublime exploration, bridging Romantic emotional excess with emerging Symbolist introspection. Baudelaire's work reflected broader cultural currents, including renewed scholarly interest in Norse and Greco-Roman lore—such as 19th-century translations of the Eddas highlighting giantesses like Gerðr—amid Romantic medievalism and folkloric revival. Yet, literary depictions remained sparse, often symbolic rather than narrative, prioritizing psychological depth over plot; the giantess here signifies not mere antagonism but a canvas for the poet's confrontation with infinity and desire. Concurrent public spectacles of actual tall women, such as Nova Scotian Anna Swan (1846–1888), who reached 7 feet 9.75 inches and performed in P.T. Barnum's shows from 1862, may have amplified imaginative associations, though these were more sensational than mythically restorative.

20th-Century Fantasy and Surrealism

In H.G. Wells' 1904 science fiction novel The Food of the Gods and How It Came to Earth, a growth-accelerating substance produces human giants, including the "first of all giant women," a princess who reaches approximately fifty feet in height and embodies graceful yet disruptive enormity amid societal panic over unchecked expansion. The narrative contrasts these colossal figures' steadfast poise with smaller humans' fear, using the giantess to interrogate human limits and evolutionary hubris, as the princess's presence catalyzes romantic and political tensions among the enlarged. Folklore retellings also featured giantesses in early 20th-century American literature, such as Henry W. Shoemaker's 1912 short story "The Giantess," which recounts a Native American legend of a cursed stone statue animating into a destructive female colossus, blending indigenous oral traditions with speculative elements of animation and retribution. In mid-century surrealist painting, British-Mexican artist Leonora Carrington depicted giantesses as archetypal guardians in works like The Giantess (The Guardian of the Egg) (c. 1947), a tempera-on-wood panel measuring 117 by 68 cm showing a serene, towering woman cradling a fragile egg in a golden wheat field under a vast sky, evoking themes of feminine divinity and protective enclosure within dreamlike, biomorphic surroundings. Carrington's portrayal, created post her 1942 relocation to Mexico, subverts traditional muse roles by centering the giantess as an autonomous, nurturing force, reflective of surrealism's emphasis on subconscious symbolism over literal scale.

Giantess in Visual and Performing Media

Comics and Graphic Narratives

One of the earliest depictions of a giantess in American comics appeared in Wonder Woman #9, published in June 1944, introducing Giganta as a villainess created by William Moulton Marston. Originally portrayed as a scientist named Doris Zuel who transfers her mind into the body of a gorilla and later gains size-increasing abilities, Giganta embodies antagonistic power dynamics, frequently clashing with Wonder Woman in battles that highlight themes of dominance and transformation. Her character has persisted across DC Comics continuity, evolving to include superhuman size growth up to 60 feet, underscoring the trope's roots in Golden Age storytelling where enlarged female figures served as formidable adversaries. In Marvel Comics, Titania (Mary MacPherran) emerged during the 1984 Secret Wars event, empowered by Doctor Doom with enhanced strength rivaling She-Hulk, often depicted in scenarios amplifying her physical scale through combat feats rather than literal gigantism. First appearing in Secret Wars #3, Titania's portrayal as a brutal enforcer in groups like the Masters of Evil and Frightful Four emphasizes raw power and rivalry with heroines like the "Jade Giantess," reflecting 1980s trends in female supervillains who challenge gender norms via exaggerated might. Similarly, Stature (Cassie Lang) from the 2005 Young Avengers series possesses Pym Particle-based size manipulation, growing to approximately 50 feet as a giantess, integrating the motif into younger, heroic narratives focused on legacy and control. Indie and alternative comics have explored giantess themes beyond superhero genres, as in AC Comics' Giantess Comics #1 (2015), which features characters like Rowena, a medieval-era giantess in tales of conquest and dark fantasy. Graphic novels such as Giantess: The Story of the Girl Who Traveled the World in Search of Freedom (2022), scripted by JC Deveney and illustrated by Nuria Tamarit, present a non-combative giantess protagonist—a foundling infant who grows massively—navigating societal rejection and quests for autonomy, drawing on folklore-inspired isolation rather than antagonism. These works illustrate the archetype's versatility in graphic narratives, shifting from pulp villainy to introspective explorations of otherness, though mainstream instances remain predominantly tied to action-oriented power struggles.

Film, Animation, and Television

The giantess motif entered live-action cinema prominently with Attack of the 50 Foot Woman, released on May 19, 1958, directed by Nathan Juran and starring Allison Hayes as Nancy Archer, a socialite who grows to approximately 50 feet tall after encountering an alien spacecraft. The film, produced on a low budget of $70,000, centers on Archer's quest for revenge against her unfaithful husband, blending science fiction with domestic drama and becoming a cult classic despite poor initial reception. A colorized remake aired on HBO in 1993, directed by Christopher Guest and featuring Daryl Hannah, which updated the story but retained the core enlargement premise triggered by alien contact. Subsequent films expanded the trope into teen exploitation and horror genres. Village of the Giants (1965), directed by Bert I. Gordon, adapts a story inspired by H.G. Wells' concepts, where teenagers consume a mysterious substance called "goo" and grow to giant size, with female characters like those played by Joy Harmon dominating smaller peers in dance sequences and conflicts. Similarly, The 30 Foot Bride of Candy Rock (1959), starring Lou Costello in his only post-Abbott film, features Dorothy Provine as a woman enlarged by her husband's atomic invention, leading to comedic chaos resolved by reversal. Later entries include Attack of the 60 Foot Centerfold (1995), a direct-to-video production where a model grows gigantic after using a magical camera, emphasizing exploitation elements. In animation, giantesses draw from literary adaptations and original stories. The 3 Worlds of Gulliver (1960), a stop-motion adaptation of Jonathan Swift's Gulliver's Travels, portrays the land of Brobdingnag with oversized inhabitants, including women who interact with the shrunken protagonist, highlighting scale contrasts for satirical effect. The DreamWorks film Monsters vs. Aliens (2009) features Susan Murphy, voiced by Reese Witherspoon, transforming into the 49-foot-11-inch "Ginormica" after alien slime exposure, joining a team of misfit monsters to battle an extraterrestrial invasion in a family-oriented CGI production. Japanese anime series like One Piece (1999–present) include giant female characters such as Charlotte Linlin (Big Mom), a 28-foot-9-inch pirate emperor whose immense stature underscores her power in battles and alliances. Television depictions often appear in episodic formats or superhero narratives. In DC animated series, Giganta, a villainess capable of size growth, debuts in Super Friends (1973–1985), where she enlarges to combat heroes, originating from Wonder Woman comics but visualized in episodes like "The Planet of Oz" (1977).) Live-action shows such as Doom Patrol (2019–2023) portray Rita Farr (Elasti-Woman), played by April Bowlby, who can expand to gigantic proportions, using her elasticity for both combat and emotional symbolism tied to trauma. Episodic anthology series like The Twilight Zone featured size-alteration themes, though male-focused, influencing later giantess arcs in sci-fi TV.

Video Games and Interactive Experiences

In video games, giantess themes predominantly appear in niche indie titles and adult-oriented interactive experiences, often emphasizing size disparities, destruction mechanics, or interpersonal dynamics between oversized female characters and smaller protagonists or environments. A dedicated Steam curator, "Giantess in video games," compiles over 80 such titles as of June 2025, highlighting games that incorporate giant female figures in gameplay, narratives, or visual elements, many of which cater to macrophilia interests through mechanics like scaling, trampling, or perspective shifts. Notable examples include Giantess Playground, a 2025 sandbox destruction simulator available on the Epic Games Store, where players can embody a towering giantess to crush urban structures or control diminutive citizens attempting evasion and survival, incorporating hide-and-seek and physics-based interactions. Similarly, SAEKO: Giantess Dating Sim, released on Steam in 2025, presents a psychological horror-infused dating simulator centered on relationships with giant women, blending choice-driven dialogue, size-based power imbalances, and unsettling narrative twists. Other indie offerings on platforms like itch.io, such as Scale of Survival and Science Fair Shrink Ray, feature shrinking mechanics that position players as tiny entities navigating giantess-dominated worlds, often with survival horror or exploration elements. Mainstream franchises occasionally integrate temporary giantess motifs via power-ups or boss encounters, as seen in the Super Mario series where characters like Princess Peach grow massively with the Mega Mushroom, enabling enlarged platforming and combat against foes, though these are brief and not thematically centered on giantess archetypes. Earlier titles like Conker's Bad Fur Day (2001) include encounters with Jugga, a massive female antagonist in a boss battle sequence emphasizing comedic yet antagonistic size dynamics. These elements underscore a progression from incidental giantess appearances in established games to dedicated interactive simulations, driven by digital tools enabling customizable scale and perspective in player agency.

The Macrophilia Fetish: Contemporary Dominance

Historical Emergence Post-WWII

The post-World War II period marked the initial visibility of giantess imagery in popular media that retrospectively aligned with macrophilic interests, particularly through low-budget science fiction and horror films of the 1950s. These depictions often arose from cultural anxieties over atomic power and extraterrestrial threats, yet provided visual stimuli of enlarged women dominating human-scale environments, appealing to individuals predisposed to size-difference fantasies. Prior to the internet, such media served as primary outlets for those experiencing the paraphilia, with limited underground expression in print or personal drawings. A seminal example is the 1958 film Attack of the 50 Foot Woman, directed by Nathan Juran, in which protagonist Nancy Archer (played by Allison Hayes) grows to approximately 50 feet tall following exposure to an alien spacecraft. The narrative centers on her vengeful rampage against her unfaithful husband and others, emphasizing themes of physical overpowering and destruction that resonate with macrophilic elements such as trampling and vulnerability. Film analysts have noted that for certain audiences, the giantess trope in this era tapped into fetishistic arousal derived from extreme size disparities, though the production itself was not explicitly erotic. The term "macrophilia," denoting sexual arousal from giants or size differences, originated in a clinical context as a response to such fantasies, initially encompassing both giant and minuscule figures. It was formalized in an early definitional paper by Samuel Ramses, M.D., Ph.D., describing it as a sexual response to creatures of greatly differing sizes, with manifestations often traceable to childhood imaginings of dominance or engulfment. Post-war pulp magazines and sci-fi serials occasionally featured analogous growth scenarios, but documented fetish communities remained nascent until later decades, reliant on isolated media consumption rather than organized sharing.

Psychological Mechanisms and Appeals

Macrophilia, the sexual attraction to giants or the fantasy of interacting with oversized individuals, particularly giantesses, often involves psychological mechanisms rooted in classical conditioning during formative years. Psychologist Mark Griffiths posits that early sexual arousal may become inadvertently linked to imagery of giants through exposure to media depictions, such as oversized female characters in films or stories, fostering a paraphilic association over time. This speculative etiology aligns with broader theories of fetish development, where neutral stimuli gain erotic charge via repeated pairing with arousal, though empirical validation remains sparse due to the paraphilia's rarity and understudied nature. Core appeals of macrophilia center on exaggerated power imbalances, evoking themes of dominance, submission, and vulnerability. Participants frequently describe arousal from the fantasy of being overpowered or engulfed by a colossal figure, which amplifies sensations of helplessness and surrender, tapping into primal erotic dynamics of control and capitulation. This dynamic may serve as a psychological outlet for processing real-world stressors, including feelings of inadequacy or societal pressures on masculinity, by reframing diminishment as a source of erotic release rather than threat. Additional mechanisms include escapist fantasy and sensory amplification, where the disproportionate scale heightens perceptual intensity—such as imagined tactile overwhelm or visual awe—contrasting mundane human proportions. Low self-esteem or anxiety can exacerbate appeal, as the fetish provides a controlled narrative of submission without real interpersonal risk, potentially reinforcing cycles of avoidance in normative relationships. Griffiths further notes that macrophilic fantasies often explore taboo boundaries, like destruction or consumption motifs (e.g., vore), which derive thrill from moral transgression and the safety of imaginative rather than literal enactment. Despite these patterns, clinical data is predominantly self-reported from online communities, limiting generalizability and highlighting the need for rigorous, non-anecdotal investigation into causal pathways.

Content Forms and Community Dynamics

Content in the macrophilia fetish primarily takes the form of user-generated erotic fiction, digital illustrations, photographic manipulations, and CGI animations that emphasize scenarios of vast size disparities, such as a woman growing to towering heights or a man shrinking to insect-like proportions, including common tropes in niche online fiction where a spouse arrives home to discover drastic size changes—growing or shrinking—in their partner, prevalent on sites like Literotica and DeviantArt but lacking precise matches in mainstream literature. These depictions frequently incorporate elements of domination, insertion, crushing, or vorarephilia (erotic consumption), with narratives exploring power imbalances rather than realistic interactions. Live-action video remains limited due to production challenges, often relying on forced perspective, costumes, or practical effects for approximation, while textual stories dominate as an accessible entry point for fantasy elaboration. The community dynamics revolve around online platforms that serve as hubs for content sharing, discussion, and interpersonal role-playing, with major forums like Giantess City—established as one of the largest U.S.-based sites—and Giantess World.net hosting thousands of members who upload stories, art, and media files. These spaces foster collaborative creativity, including commissioned artwork and interactive chat-based simulations, while subgroups on sites like FetLife and Discord explore niche variants such as gentle giantess interactions versus destructive themes. Predominantly comprising heterosexual males, as indicated by self-reported surveys, the community emphasizes anonymity and mutual validation of fantasies, with discussions extending to psychological motivations like escapism from everyday powerlessness and technical advancements in virtual reality for immersive experiences. Non-profit networks like MySFC.net further support segmented forums for art, stories, and role-play, promoting a self-sustaining ecosystem driven by volunteer moderation and member contributions rather than commercial dominance.

Controversies, Criticisms, and Debates

Gender Power Imbalances

In giantess fantasies, central to macrophilia, the depiction of women as enormously scaled figures exerting total physical dominance over diminutive men establishes an acute power asymmetry, where the female figure possesses god-like control—capable of crushing, consuming, or manipulating the smaller male at will—while the male is rendered utterly vulnerable and submissive. This inversion starkly contrasts biological norms, in which adult males average greater height (approximately 5-6 inches taller globally) and upper-body strength (about 50-60% more than females), rendering the fantasy a deliberate reversal of typical sexual dimorphism. Predominantly heterosexual males report arousal from this setup, with surveys of fetish communities indicating over 90% identify as male consumers of giantess content featuring female giants. Psychologically, the appeal stems from the thrill of powerlessness, allowing participants to explore surrender and relief from real-world agency or performance pressures, as articulated by individuals describing the fantasy as an escape into enforced submission. Therapists note that while consensual role-play can process dominance-submission dynamics harmlessly, the fetish's emphasis on female omnipotence may reflect compensatory responses to perceived societal shifts, such as declining male economic primacy (e.g., male labor force participation dropping from 80% in 1970 to 68% in 2023 in the U.S.) or cultural narratives amplifying female agency. Critics, including some evolutionary psychologists, argue this fixation perpetuates or exaggerates unhealthy gender imbalances by idealizing female superiority in physical terms, potentially reinforcing misandrist tropes in media where male vulnerability is normalized, though empirical data linking fetish consumption to real-world attitudes remains sparse and correlational at best. Others contend it undermines egalitarian ideals by catering to male desires for matriarchal dominance, contrasting with feminist advocacy for mutual respect over hierarchical power plays, yet proponents counter that fantasies serve as private outlets without causal impact on behavior. No large-scale studies demonstrate harm from the fetish itself, but its gender-specific skew—rarely featuring dominant tiny females or submissive giant males—highlights an imbalance in fantasy consumption that mirrors broader patterns in BDSM interests, where men outnumber women in submissive roles by roughly 2:1.

Psychological and Evolutionary Critiques

Psychological analyses of macrophilia frequently attribute its origins to classical conditioning during childhood or adolescence, where incidental sexual arousal becomes associated with depictions of giants in media such as cartoons or films. This conditioning is speculated to occur accidentally, linking non-sexual stimuli like oversized characters to emerging sexual responses, potentially leading to entrenched paraphilic preferences that prioritize fantasy over realistic interpersonal dynamics. Critics from clinical psychology, including Dr. Helen Friedman, argue that macrophilia may represent a maladaptive resolution of unresolved childhood conflicts, such as feelings of overwhelm by a dominant maternal figure or experiences of abuse, serving as a escapist substitute for normative sexual intimacy involving mutual vulnerability and connection. Similarly, Dr. Samuel Ramses posits that it emerges pre-puberty among shy, socially isolated individuals, without clear environmental triggers, implying an intrinsic vulnerability to atypical arousal patterns that could hinder adaptive social and sexual functioning in adulthood. These views frame the fetish not merely as harmless variation but as a potential symptom of deeper psychodynamic issues, where the appeal of power imbalances—such as submission to a giantess—reenacts early powerlessness rather than fostering reciprocal relationships. From an evolutionary standpoint, paraphilias like macrophilia are critiqued as non-adaptive deviations from mate preferences shaped by reproductive success, where human attraction historically favored body sizes and ratios signaling health, fertility, and viability—such as moderate sexual dimorphism enabling successful mating and offspring survival. The fetish's focus on impossibly scaled partners contradicts these pressures, as scenarios involving giants preclude actual reproduction and may reflect a maladaptive byproduct of mechanisms for novelty-seeking or dominance signaling, exaggerated by modern media into reproductively inert fantasies. Evolutionary models of paraphilias suggest male-biased prevalence stems from greater tolerance for risk in sexual exploration due to lower reproductive costs, but macrophilia's extremity—often co-occurring with vorarephilia or crush elements—diverts arousal from viable partners, potentially reducing fitness without compensatory benefits. Such critiques highlight causal realism in selection: traits persisting despite zero direct reproductive payoff likely arise as incidental noise in neural reward systems tuned for ancestral environments, not as evolved adaptations.

Cultural and Ethical Concerns

Cultural depictions of giantesses in fetish contexts frequently emphasize themes of overwhelming female power, including domination, insertion, crushing, and vorarephilia (vore), where smaller figures are consumed. Some online commentators criticize these narratives as inadvertently promoting gynocentric ideologies that idealize female superiority and male diminishment or destruction, potentially contributing to cultural narratives of gender antagonism. Such views, however, stem largely from personal blogs and forums rather than empirical studies, and lack evidence of broader societal influence given the fetish's niche status. Ethically, the fictional nature of most giantess content—often produced via animation, writing, or CGI—mitigates direct harm concerns, as no real individuals are endangered. Debates parallel those in other paraphilic fantasies, questioning whether arousal from simulated violence or non-consent (e.g., unaware crushing or vore) desensitizes consumers or blurs ethical boundaries between fantasy and reality. Clinical case studies describe vorarephilia as a masochistic paraphilia involving desires to consume or be consumed, but find no inherent link to antisocial behavior. Proponents argue such fantasies remain psychologically compartmentalized, with ethical safety hinging on clear dissociation from real-world actions. In production, ethical issues arise from piracy in specialized communities, where unauthorized distribution undermines creator compensation for custom content like role-play videos or illustrations. Unlike mainstream pornography, the bespoke, low-volume nature of giantess media amplifies financial risks for independent artists, prompting calls for community-supported ethical consumption practices. No peer-reviewed research documents elevated psychological risks specific to macrophilia beyond general paraphilia patterns, such as potential relational challenges from unmet real-world approximations of the fantasy.

References

  1. https://www.wordreference.com/definition/giantess
  2. https://historiska.se/norse-mythology/skadi-en/
  3. https://www.jstor.org/stable/40920639
  4. https://historicnovascotia.ca/items/show/197
  5. https://www.factinate.com/people/facts-anna-haining-bates
  6. https://www.oed.com/dictionary/giantess_n
  7. https://www.etymonline.com/word/giant
  8. https://www.etymonline.com/word/giantess
  9. https://www.merriam-webster.com/dictionary/giantess
  10. https://pmc.ncbi.nlm.nih.gov/articles/PMC11912844/
  11. https://link.springer.com/article/10.1007/s40618-023-02223-z
  12. https://www.guinnessworldrecords.com/world-records/tallest-married-couple
  13. https://www.tatamagoucheheritagecentre.ca/anna-swan/
  14. https://www.findagrave.com/memorial/7720739/anna_haining-bates
  15. https://www.quora.com/Were-there-any-female-giants-giantesses-Anytime-an-account-of-a-giant-is-given-whether-mythical-or-archeological-its-always-a-male-giant-never-a-female-With-that-said-were-there-any-giantesses-Did-ancient-cultures
  16. https://academic.oup.com/jcem/article/97/12/4302/2536330
  17. https://www.theoi.com/greek-mythology/giants.html
  18. https://www.theoi.com/Gigante/Gigantes.html
  19. https://www.theoi.com/Gigante/GigantisPeriboia.html
  20. https://www.theoi.com/Nymphe/NympheKymopoleia.html
  21. https://norse-mythology.org/gods-and-creatures/giants/skadi/
  22. https://www.ancient-origins.net/myths-legends-europe/ska-i-norse-giantess-godly-vendetta-008258
  23. https://vikingr.org/other-beings/angrboda
  24. https://thewickedgriffin.com/angrboda-norse-mythology/
  25. https://pantheon.org/articles/f/fenja_and_menja.html
  26. https://www.ancientpages.com/2020/02/15/fenja-and-menja-sisters/
  27. https://ericwedwards.wordpress.com/2015/02/05/the-cailleach/
  28. https://www.centreofexcellence.com/the-cailleach-in-celtic-mythology/
  29. https://emeraldisle.ie/the-tale-of-viviann-the-giantess
  30. https://www.youtube.com/watch?v=nX7FUvlY2Zs
  31. http://www.dunbrython.org/the-giants.html
  32. https://www.worldnomads.com/explore/northern-europe/lithuania/exploring-the-legends-and-landscapes-of-the-curonian-spit
  33. https://www.shutterstock.com/search/lithuanian-mythology
  34. https://www.facebook.com/groups/thedivineshekhinah/posts/888418351853178/
  35. https://yokai.com/takaonna/
  36. https://dergipark.org.tr/en/pub/psikanaliz/issue/77318/1184561
  37. http://www.native-languages.org/asin.htm
  38. https://quatr.us/nativeamerican/chinook-creation-myth-native-american-religion.htm
  39. https://historycooperative.org/angrboda/
  40. https://www.routesnorth.com/scandinavia/jotunn-a-giant-in-norse-mythology/
  41. https://atlasmythica.com/jotunns-giants-norse-mythology/
  42. https://www.theoi.com/greek-mythology/titans.html
  43. https://research-repository.st-andrews.ac.uk/handle/10023/13233
  44. https://www.theoi.com/Titan/TitanisRhea.html
  45. https://www.ancient-origins.net/index.php/myths-legends-europe/rhea-goddess-0017173
  46. https://www.theoi.com/Protogenos/Gaia.html
  47. https://medium.com/mythology-journal/gerdr-viking-goddess-of-fertility-and-abundance-e7818937f3ba
  48. https://www.thecollector.com/jotun-giants-norse-mythology/
  49. https://digitalcommonplacebookblog.wordpress.com/2020/04/07/unintentional-feminism-giantesses-in-norse-mythology/
  50. https://plato.stanford.edu/entries/aesthetics-19th-romantic/
  51. https://fleursdumal.org/poem/118
  52. https://deankyte.com/2020/10/28/is-baudelaire-a-romantic/
  53. https://www.kidscanpress.com/product/the-true-tale-of-a-giantess/
  54. https://wordandsilence.com/2019/11/06/the-great-myths-58-the-love-story-of-freyr-the-giantess-gerd-norse/
  55. https://www.gutenberg.org/files/11696/11696-h/11696-h.htm
  56. https://astrofella.wordpress.com/2018/11/08/the-food-of-the-gods-h-g-wells/
  57. https://aborigen-gts.org/2024/09/08/the-giantess-henry-w-shoemaker/
  58. https://www.arthistoryproject.com/artists/leonora-carrington/the-giantess/
  59. https://www.facebook.com/groups/1373290947392805/posts/1483329506388948/
  60. https://comicvine.gamespot.com/giganta/4005-10882/
  61. https://wonder-woman.fandom.com/wiki/Giganta
  62. https://www.marvel.com/characters/titania-mary-macpherran
  63. https://marvel.fandom.com/wiki/Mary_MacPherran_%28Earth-616%29
  64. https://giantess.miraheze.org/wiki/Stature
  65. https://www.mycomicshop.com/search?minyr=1979&TID=35220254
  66. https://librarycomic.com/graphic-novel-review-giantess-the-story-of-the-girl-who-traveled-the-world-in-search-of-freedom-by-jc-deveney-and-nuria-tamarit/
  67. https://www.deviantart.com/sileneacaulis/art/Giant-Tiny-Comic-Recommendations-979408296
  68. https://www.vice.com/en/article/want-giant-women-well-this-steam-curator-keeps-tabs-on-games-with-giantesses/
  69. https://store.steampowered.com/curator/45022222-Giantess-in-video-games/
  70. https://store.epicgames.com/en-US/p/giantess-playground-2696ce
  71. https://itch.io/games/tag-giantess
  72. https://www.menshealth.com/sex-women/a19540724/what-its-like-to-have-macrophilia-or-a-giant-woman-fetish/
  73. https://www.classicfilmnoir.com/2024/04/attack-of-50-foot-woman-1958.html
  74. https://www.macrophile.com/html/megafurry.html
  75. https://www.psychologytoday.com/us/blog/in-excess/201504/big-love
  76. https://drmarkgriffiths.wordpress.com/2016/10/28/one-giant-step-for-man-another-look-at-macrophilia/
  77. https://www.playfulmag.com/post/macrophilia-giant-fetishes-why-size-really-does-matter-in-fantasy
  78. https://thesanctuaryofsin.com/blogs/bdsm/kinks-decoded-the-psychology-and-appeal-of-the-giantess
  79. https://www.mentesabiertaspsicologia.com/blog-psicologia/macrophilia-symptoms-causes-and-treatment
  80. https://drmarkgriffiths.wordpress.com/2012/05/22/havin-it-large-a-beginners-guide-to-macrophilia/
  81. https://www.giantessworld.net/
  82. https://fetlife.com/kinktionary/philia-fetish/giantess-fetish-iehmy
  83. https://www.mysfc.net/home-en/
  84. https://www.the-independent.com/life-style/love-sex/macrophilia-sex-giants-fetish-men-who-use-virtual-reality-to-make-it-happen-a7382661.html
  85. https://www.vice.com/en/article/macrophilia-fetish-the-men-who-want-to-have-sex-with-actual-giants/
  86. https://www.cambridge.org/core/books/cambridge-handbook-of-evolutionary-perspectives-on-sexual-psychology/male-sexual-disorders/7F74889F4D651385E531B5BFBCBD31C9
  87. https://www.researchgate.net/publication/370266651_Sex_distribution_in_paraphilias_from_an_evolutionary_perspective
  88. https://www.researchgate.net/publication/51833767_Pragmatic_and_Darwinian_Views_of_the_Paraphilias
  89. https://pmc.ncbi.nlm.nih.gov/articles/PMC11176219/
  90. https://www.deviantart.com/hellosir2099/art/Macrophilia-is-toxic-gynocentrism-propaganda-998061287
  91. https://pubmed.ncbi.nlm.nih.gov/24057211/
  92. https://www.quora.com/Is-the-entertainment-of-Vore-ethically-safe
  93. https://aborigen-gts.org/2023/10/18/ethical-porn-creator-compensation-and-piracy/
  94. https://www.psychologytoday.com/au/blog/in-excess/201504/big-love
Add your contribution
Related Hubs
User Avatar
No comments yet.