#and making your own post and using the image in that post

[hawkins-batman]

The Noah Schnapp Situation Going Into S5

With Stranger Things Season 5 coming out this year, we are unfortunately going to see a revival of the debacle around Noah, even though by then it will be an almost 2 year old subject. So, I thought I would get ahead of that with some of my thoughts based on what I've seen these last few weeks and more broadly over the last 6 or more months I've been on this scene.

Spoiler Alert: This is going to be a long one. It'll probably be my new pinned post.

Why Still Talk About It?

Frankly? Because it's still going on. Keep in mind, Liam Payne died in October 2024 (just three months ago), right around Noah's birthday, and THIS is how Twitter responded to that.

And just in case anyone thinks I had to dig back a whole 3 months to find Noah-hate-content on Twitter, here was just random things I grabbed from the last week:

Which brings me to the next point.

Why Do You Even Care?

"Noah doesn't know you." "He's not your pookie."

I know that. The funny thing is, from what little I know about Noah, I'm pretty sure if he DID know me beyond the ONE DM conversation we've had, he'd probably tell me to chill. Dude is very non-confrontational and nice. So, why do it?

Because I think the online movement in favor of Palestinian self-determination has been hijacked by teenagers and performative leftists who care more about looking good for their peers than practicing what they preach.

Because (as you can see above and in screenshots like the one below), people who claim to hold my liberal/progressive/left-leaning values have used this as an opportunity to be openly homophobic and antisemitic towards a then-19-year old who had JUST come out of the closet.

Proponents of the hate campaign against Noah have said that they are just "holding him accountable" or "criticizing him" in the hopes he "learns something."

Look up. Point to me which image is accountability. Point to me the valid criticisms.

There are none. There is just flagrant homophobia. And then there are posts like this one, coming from the same crowd:

This behavior is wrong on its face.

It is violent. It is bullying (which doesn't seem like strong enough of a word) and it's bigoted.

Wanna see more? Look up @noah_schnapp on Twitter/X. See what they've done to his account.

Inevitably, some of the people participating in this will see this blog post. If you've made it this far, this is for you:

This behavior discredits your activism. It makes you look performative and fake to say in one breath that you are a "Leftist" who cares about Palestinian lives as well as the lives of minority groups worldwide, and then to turn around and talk like this about a Jewish person and a gay KID. Because he WAS a kid when this started. Furthermore, it makes it clear to those of us who actually hold the beliefs we claim, that you are vapid enough to use Palestinian suffering for your own personal vendettas. That the APPEARANCE of goodness is more important than goodness itself. And that you will shuck solidarity with minority groups the MOMENT one of them steps out of the lines you have drawn around them.

Not to mention...

It's Based Mostly On Lies

As a reminder, this is what Noah Schnapp actually said shortly after October 7, 2023:

Read that again.

"...we will hope and pray for safety, justice, liberation, and self-determination in Palestine." That was part of the very first thing he ever said about the issue.

And then this happened:

This was the image he was crucified for.

Stickers that weren't even his. That he wasn't holding up or making. He was in a cafe, someone else came up to him with them, and he was videoed with that person.

That's it. That's all. All those tweets you saw above? The fake stories made up about him like this one?

All of that was supposedly "accountability."

The harassment of his family. Murder threats. Rape threats. All for stickers that weren't even his.

There's even a paid Stranger Things author on this very site, styling herself as a Byler shipper, who has contributed to the lies that have further added to the hate campaign I've described.

As an aside, Noah wasn't the only one in that video. The influencers that actually posted the video and HAD THE STICKERS?

Nothing. Nada. Zilch.

And just to be clear - I don't think they should get hate. I think non-Jewish online Leftists appropriated a term from Jewish culture, redefined it, and are weaponizing it to beat down Jews all over the internet—which is par for the course for this charcuterie board of performative activism.

Yet the point stands. Noah was specifically targeted; and the homophobia that IMMEDIATELY came from the Left suggests to me that it was his sexuality and cultural/religious identity that motivated the attacks.

Again, I'll say, this is wrong.

Noah Has Since Responded

It hasn't stopped the bullying.

Didn't stop him from withdrawing from spaces he loved. From needing therapy from what we've learned from his now-deleted second TikTok.

And that really says something, does it? He cleared up his point. He tried to clarify and even apologize.

They didn't accept it. Not because it wasn't good enough. Not because it was "too late." Because this was the point. They wanted to keep doing it. They get sick joy from it.

Which is why...

I'm Not Shutting Up About This

This post doesn't even nearly cover the whole situation. The Byler fans who try to replace Noah's image in fan art and fan fiction. Who fan cast themselves as Will instead of Noah. The stalking and doxxing on Twitter. People reporting to GIANT hate accounts his location and when he's alone, PRAYING for him to be hurt.

I wish I could cover it all.

We have to stand up to this. On tumblr, on TikTok, on Threads, Twitter/X—everywhere we see it.

For our gay and Jewish siblings who see how Noah was attacked and feel less safe in their online spaces as a result, we have to speak up and say something.

And yeah. We have to say something for Noah, too.

The person who replied to me like this:

Him?

He did it because he needed to see a show of love from his fans. Doesn't mean he's perfect. Doesn't mean he won't mess up or do something in the future.

And no. Standing up for Noah, or for Jewish people, or other gay folks does not make you a genocide supporter or apologist. It doesn't mean you want any innocent people harmed. Don't give them the power to talk down to you like that. It's bullshit. You know it, and I know it.

All standing up to this vile shit is is an acknowledgement that Noah is a living, breathing person, as some of these people tend to forget.

And he didn't deserve this.

Any of it.

[esotericalchemist]

𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄 - 𝐒𝐡𝐢𝐧𝐞 𝐢𝐧 𝐭𝐡𝐞 𝐒𝐩𝐨𝐭𝐥𝐢𝐠𝐡𝐭: 𝐆𝐥𝐨𝐰𝐢𝐧𝐠 𝐔𝐩 𝐘𝐨𝐮𝐫 𝐂𝐚𝐫𝐞𝐞𝐫 & 𝐋𝐞𝐠𝐚𝐜𝐲 ˚ʚ♡ɞ˚

Masterlist this series - TikTok (Matrix of Destiny) - Masterlist - YouTube (subliminals)

This is the tenth post in our 12-part series dedicated to helping you glow up using the wisdom of astrology. Each post explores a different astrological house, uncovering how its themes influence your journey and offering practical steps to elevate your life.

In this post, we’re focusing on the tenth house—the house of ambition, reputation, leadership, and achieving success. The tenth house is the pinnacle of your chart, representing your career and public image, as well as the legacy you leave behind. Glowing up your tenth house means embracing your leadership potential, cultivating a reputation that reflects your unique strengths, and striving for success in ways that align with your aspirations and values. Let’s discover how the sign ruling your tenth house can guide you toward thriving in your professional and public life.

𝐀𝐑𝐈𝐄𝐒 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Aries ruling this house, your approach to these themes is bold, energetic, and pioneering. Ruled by Mars, Aries in the tenth house brings a dynamic and fearless energy to your journey, emphasizing a take-charge attitude, the courage to blaze your own trail, and a natural talent for inspiring others. Your glow-up involves embracing your leadership potential, cultivating your ambitious spirit, and achieving success through boldness, initiative, and relentless drive.

Ambition: Fearless Pursuit of Goals

Aries in the tenth house thrives on setting ambitious goals and fearlessly pursuing them. You’re drawn to challenges that allow you to prove your capabilities and excel in competitive environments. Your ambition is driven by a deep desire to lead, innovate, and make a significant impact.

To glow up your ambition, focus on setting clear, actionable goals that ignite your passion. Break them down into manageable steps and take swift, decisive action. Aries energy thrives on momentum, so maintaining enthusiasm and a forward-thinking mindset is essential.

Embrace Aries’ pioneering spirit by taking risks that align with your vision. Your willingness to step into uncharted territory will set you apart and position you as a trailblazer in your chosen field.

Reputation: Dynamic and Bold Presence

Aries in the tenth house shapes your public image as someone who is courageous, assertive, and full of vitality. You’re seen as a leader who takes charge, motivates others, and isn’t afraid to take a stand for what you believe in.

To glow up your reputation, focus on cultivating confidence and authenticity in how you present yourself. Share your accomplishments proudly and showcase your unique strengths, whether it’s through social media, networking, or public speaking.

Embrace Aries’ dynamic energy by demonstrating your ability to take initiative and lead with purpose. People are inspired by your boldness, so allow your natural charisma to shine in all professional and public settings.

Leadership: Taking Charge and Inspiring Others

Aries in the tenth house makes you a natural leader who thrives on taking charge and setting the pace. You excel in roles where your assertiveness, quick decision-making, and ability to rally others create momentum and drive results.

To glow up your leadership skills, focus on balancing your assertiveness with empathy and collaboration. While your decisive nature is a strength, involving others in your vision and valuing their contributions will elevate your leadership style.

Embrace Aries’ boldness by stepping into leadership opportunities that challenge you to grow. Whether it’s leading a team, starting your own business, or taking on a high-profile project, your ability to inspire action is your superpower.

Achieving Success: Bold Action and Relentless Drive

Aries in the tenth house ensures that your path to success is fueled by determination, resilience, and a fearless attitude. You’re drawn to careers and projects that allow you to break new ground, take calculated risks, and achieve results quickly.

To glow up your journey toward success, focus on maintaining a balance between speed and strategy. While your instinct to act swiftly is an asset, combining it with thoughtful planning ensures long-term achievement.

Embrace Aries’ competitive edge by channeling your energy into ventures that ignite your passion and challenge your limits. Your relentless drive and pioneering spirit are key to reaching the heights you aspire to.

𝐓𝐀𝐔𝐑𝐔𝐒 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Taurus ruling this house, your approach to these themes is steady, practical, and focused on building lasting value. Ruled by Venus, Taurus in the tenth house brings a grounded and determined energy to your journey, emphasizing persistence, financial security, and a reputation for reliability and grace. Your glow-up involves cultivating patience and consistency, achieving success through steady effort, and creating a legacy that reflects beauty, stability, and long-term value.

Ambition: Steady and Practical Goals

Taurus in the tenth house thrives on setting realistic, achievable goals that lead to lasting success. You’re driven by a desire for security, comfort, and creating tangible results that stand the test of time.

To glow up your ambition, focus on identifying long-term goals that align with your values. Develop a clear plan for achieving them, and remain consistent in your efforts. Taurus energy excels in environments that reward patience and persistence, so trust in the process and stay committed.

Embrace Taurus’ practical nature by pursuing careers or projects that allow you to create something enduring, whether it’s building a business, crafting luxury goods, or working in finance or real estate.

Reputation: Reliable and Graceful Presence

Taurus in the tenth house shapes your public image as someone dependable, trustworthy, and composed. You’re seen as a professional who exudes calm and grace, earning respect for your ability to remain steady under pressure.

To glow up your reputation, focus on presenting yourself with poise and professionalism. Pay attention to your personal style and demeanor, as Taurus’ connection to Venus highlights the importance of aesthetics and harmony.

Embrace Taurus’ grounded energy by delivering consistent results and maintaining a reputation for reliability. People admire your ability to bring a sense of calm and stability to any situation.

Leadership: Grounded and Supportive Leadership

Taurus in the tenth house makes you a steady and supportive leader who values consistency and practical solutions. You lead by example, inspiring others through your work ethic and commitment to quality.

To glow up your leadership skills, focus on fostering trust and loyalty within your team. Be patient with others’ growth and provide constructive guidance that empowers them to succeed.

Embrace Taurus’ nurturing nature by creating a supportive environment that values sustainability and balance. Your ability to lead with care and steadiness makes you a respected figure in any professional setting.

Leadership: Grounded and Supportive Leadership

Taurus in the tenth house makes you a steady and supportive leader who values consistency and practical solutions. You lead by example, inspiring others through your work ethic and commitment to quality.

To glow up your leadership skills, focus on fostering trust and loyalty within your team. Be patient with others’ growth and provide constructive guidance that empowers them to succeed.

Embrace Taurus’ nurturing nature by creating a supportive environment that values sustainability and balance. Your ability to lead with care and steadiness makes you a respected figure in any professional setting.

𝐆𝐄𝐌𝐈𝐍𝐈 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Gemini ruling this house, your approach to these themes is dynamic, versatile, and communication-driven. Ruled by Mercury, Gemini in the tenth house brings an adaptable and intellectually curious energy to your journey, emphasizing the importance of flexibility, networking, and continual learning. Your glow-up involves thriving in fast-paced environments, cultivating a reputation for wit and expertise, and achieving success through communication, innovation, and the ability to manage multiple pursuits with ease.

Ambition: Versatile and Intellectually Driven Goals

Gemini in the tenth house thrives on goals that stimulate your mind and allow you to explore diverse interests. You’re drawn to careers and projects that challenge your intellect, involve communication, or require quick adaptability.

To glow up your ambition, focus on pursuing multiple avenues of growth while maintaining clear priorities. Your natural curiosity and ability to multitask make you adept at thriving in dynamic environments, so seek opportunities that keep you engaged and inspired.

Embrace Gemini’s versatility by pursuing goals that allow for creative thinking, networking, and exploring new ideas. Your ambitious spirit shines brightest when you’re free to innovate and communicate.

Reputation: Witty and Multifaceted Presence

Gemini in the tenth house shapes your public image as someone intelligent, approachable, and versatile. You’re seen as a thought leader who thrives on sharing ideas, engaging with others, and staying ahead of the curve.

To glow up your reputation, focus on showcasing your communication skills and intellectual agility. Build a professional presence through writing, speaking engagements, or social media platforms where your voice and ideas can shine.

Embrace Gemini’s lively energy by staying informed and sharing your expertise with others. Your ability to connect with a wide range of people and ideas makes you a respected and influential figure in your field.

Leadership: Collaborative and Agile Leadership

Gemini in the tenth house makes you a collaborative and adaptable leader who thrives on fostering connections and facilitating teamwork. You excel at motivating others through clear communication and creating an environment of curiosity and innovation.

To glow up your leadership skills, focus on honing your ability to listen and respond thoughtfully. Encourage dialogue, share knowledge, and create opportunities for team members to contribute their ideas.

Embrace Gemini’s agile energy by staying open to new strategies and adapting to changes quickly. Your ability to think on your feet and keep the energy flowing makes you an inspiring and effective leader.

Achieving Success: Innovation and Adaptability

Gemini in the tenth house ensures your path to success is driven by your adaptability, quick thinking, and ability to seize opportunities. You’re drawn to roles that involve problem-solving, networking, or staying on the cutting edge of your industry.

To glow up your journey toward success, focus on leveraging your communication and networking skills. Seek roles where your ability to connect, share, and innovate will set you apart.

Embrace Gemini’s dual nature by staying open to juggling multiple projects or interests. Your ability to adapt and thrive in dynamic environments ensures your success in fields that value versatility and innovation.

𝐂𝐀𝐍𝐂𝐄𝐑 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Cancer ruling this house, your approach to these themes is nurturing, empathetic, and emotionally intuitive. Ruled by the Moon, Cancer in the tenth house brings a caring and protective energy to your journey, emphasizing the importance of creating a legacy that reflects your values, balancing professional success with emotional fulfillment, and cultivating leadership through compassion and connection. Your glow-up involves achieving success by embracing your intuitive leadership style, building a reputation for care and dedication, and aligning your ambitions with a meaningful purpose.

Ambition: Purposeful and Emotionally Driven Goals

Cancer in the tenth house thrives on pursuing goals that feel deeply meaningful and emotionally rewarding. You’re drawn to careers and projects that allow you to care for others, foster connection, or create a sense of security and belonging.

To glow up your ambition, focus on identifying goals that align with your values and provide emotional satisfaction. Whether it’s building a business, leading a team, or supporting a community initiative, your success lies in balancing professional achievements with heartfelt purpose.

Embrace Cancer’s nurturing energy by creating a supportive work environment that reflects your vision. Your ambition flourishes when your goals are rooted in care and connection.

Reputation: Compassionate and Dedicated Presence

Cancer in the tenth house shapes your public image as someone kind, trustworthy, and dedicated. You’re seen as a professional who brings empathy and emotional intelligence to every endeavor, earning respect for your ability to support and uplift others.

To glow up your reputation, focus on showcasing your nurturing qualities and commitment to excellence. Demonstrate your dedication through consistent actions, and let your natural warmth shine in your interactions.

Embrace Cancer’s intuitive energy by responding thoughtfully to others’ needs and creating a reputation for reliability and care. People admire your ability to lead with heart and authenticity.

Leadership: Empathetic and Supportive Leadership

Cancer in the tenth house makes you a compassionate and empathetic leader who excels at understanding and supporting your team. You lead by creating a sense of safety and belonging, inspiring loyalty and trust.

To glow up your leadership skills, focus on fostering emotional intelligence and open communication. Listen actively to your team, provide encouragement, and prioritize their well-being as you work toward shared goals.

Embrace Cancer’s protective energy by creating a workplace culture that values care and collaboration. Your ability to lead with empathy and understanding makes you a beloved and effective leader.

Achieving Success: Balancing Care with Ambition

Cancer in the tenth house ensures your path to success is deeply connected to your emotional intelligence and ability to nurture growth. You’re drawn to roles that involve caregiving, emotional support, or fostering meaningful connections, such as counseling, education, or community leadership.

To glow up your journey toward success, focus on balancing your drive for achievement with self-care and emotional fulfillment. While your dedication to others is a strength, nurturing your own needs is essential for sustained success.

Embrace Cancer’s intuitive nature by trusting your instincts and aligning your career choices with what feels authentic and purposeful. Your ability to combine ambition with empathy ensures long-term achievement and impact.

𝐋𝐄𝐎 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Leo ruling this house, your approach to these themes is bold, creative, and driven by a desire to shine. Ruled by the Sun, Leo in the tenth house brings a radiant and charismatic energy to your journey, emphasizing the importance of standing out, inspiring others, and creating a legacy that reflects your unique brilliance. Your glow-up involves embracing your leadership potential, building a reputation for creativity and confidence, and achieving success through passion, vision, and a flair for the dramatic.

Ambition: Bold and Visionary Goals

Leo in the tenth house thrives on ambitious goals that allow you to express your creativity and showcase your talents. You’re drawn to careers and projects that put you in the spotlight, whether as a performer, leader, or innovator.

To glow up your ambition, focus on defining a vision that excites and motivates you. Set bold, inspiring goals that reflect your passion and desire to make a lasting impact. Leo energy thrives when you’re working toward something that aligns with your heart and soul.

Embrace Leo’s visionary spirit by taking ownership of your dreams and pursuing opportunities that let your light shine. Your ambition flourishes when you’re fully committed to your unique path.

Reputation: Charismatic and Magnetic Presence

Leo in the tenth house shapes your public image as someone confident, dynamic, and inspiring. You’re seen as a leader who brings positivity, creativity, and a touch of glamour to everything you do, earning admiration for your ability to captivate and uplift others.

To glow up your reputation, focus on showcasing your talents and sharing your accomplishments with pride. Develop a professional presence through personal branding, public speaking, or creative projects that reflect your unique style.

Embrace Leo’s magnetic energy by allowing your authenticity and enthusiasm to shine in your interactions. People are drawn to your charisma and inspired by your boldness and creativity.

Leadership: Inspiring and Confident Leadership

Leo in the tenth house makes you a natural leader who inspires others with your confidence and passion. You excel at motivating teams, rallying support for your vision, and creating an environment where creativity and individuality are celebrated.

To glow up your leadership skills, focus on balancing your desire to shine with a commitment to empowering others. Recognize and celebrate the contributions of your team, fostering loyalty and collaboration.

Embrace Leo’s warmth and generosity by leading with a sense of purpose and heart. Your ability to uplift and inspire those around you makes you a respected and admired leader.

Achieving Success: Passion and Creativity in Action

Leo in the tenth house ensures your path to success is fueled by your passion, creativity, and desire to leave a legacy. You’re drawn to roles that allow you to express your individuality, such as in the arts, entertainment, entrepreneurship, or any field where your vision and confidence can shine.

To glow up your journey toward success, focus on combining your creative talents with strategic action. While your charisma is a strength, pairing it with discipline and planning ensures lasting achievement.

Embrace Leo’s flair for the dramatic by stepping boldly into opportunities that showcase your abilities. Your ability to lead with confidence and inspire others is key to achieving your ambitions.

𝐕𝐈𝐑𝐆𝐎 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Virgo ruling this house, your approach to these themes is practical, detail-oriented, and service-driven. Ruled by Mercury, Virgo in the tenth house brings a disciplined and analytical energy to your journey, emphasizing precision, organization, and a commitment to making a meaningful contribution. Your glow-up involves achieving success through meticulous planning, building a reputation for reliability and excellence, and leading with humility and purpose.

Ambition: Purposeful and Detail-Oriented Goals

Virgo in the tenth house thrives on ambitious goals that are well-structured and focused on tangible outcomes. You’re drawn to careers and projects where your analytical mind and attention to detail can shine, such as healthcare, education, research, or project management.

To glow up your ambition, focus on setting clear, measurable objectives that align with your desire to create lasting impact. Develop a step-by-step plan to achieve your goals, and stay committed to refining your skills and knowledge along the way.

Embrace Virgo’s dedication to improvement by pursuing certifications, learning new systems, or mastering tools that enhance your efficiency. Your ability to adapt and evolve ensures steady progress toward your ambitions.

Reputation: Reliable and Excellent Presence

Virgo in the tenth house shapes your public image as someone dependable, hardworking, and highly skilled. You’re seen as a professional who takes pride in your craft and delivers results with precision and care.

To glow up your reputation, focus on consistently demonstrating your expertise and attention to detail. Build trust by being reliable and transparent in your work, and showcase your achievements through a portfolio or case studies that highlight your capabilities.

Embrace Virgo’s polished energy by paying attention to how you present yourself, from your communication style to your personal branding. Your meticulous approach inspires confidence and respect in others.

Leadership: Organized and Supportive Leadership

Virgo in the tenth house makes you a thoughtful and organized leader who excels at creating efficient systems and supporting your team’s growth. You lead by example, inspiring others through your dedication and commitment to excellence.

To glow up your leadership skills, focus on cultivating patience and empathy. While your standards are high, encouraging and mentoring your team can foster a collaborative and productive environment.

Embrace Virgo’s problem-solving nature by offering practical solutions and providing clear guidance. Your ability to lead with precision and care makes you a valued and respected leader.

Achieving Success: Precision and Dedication in Action

Virgo in the tenth house ensures your path to success is built on a foundation of hard work, attention to detail, and a commitment to continuous improvement. You’re drawn to roles that allow you to contribute meaningfully, often excelling in positions that require analytical thinking or service-oriented skills.

To glow up your journey toward success, focus on refining your methods and staying adaptable to changes in your field. Virgo energy thrives on perfectionism, but balancing it with flexibility ensures sustained growth and achievement.

Embrace Virgo’s love for order and efficiency by organizing your professional life with tools and systems that keep you on track. Your ability to deliver excellence consistently is key to your success.

𝐋𝐈𝐁𝐑𝐀 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Libra ruling this house, your approach to these themes is diplomatic, relationship-oriented, and focused on balance and beauty. Ruled by Venus, Libra in the tenth house brings a refined and harmonious energy to your journey, emphasizing collaboration, aesthetic sensibility, and a natural ability to mediate and inspire. Your glow-up involves achieving success through relationships, building a reputation for grace and fairness, and leading with charm, cooperation, and an eye for elegance.

Ambition: Balanced and Relational Goals

Libra in the tenth house thrives on pursuing goals that align with fairness, harmony, and connection. You’re drawn to careers and projects where collaboration, creativity, or social justice are central, such as law, design, diplomacy, or event planning.

To glow up your ambition, focus on setting goals that allow you to connect with others and make a positive impact. Libra energy flourishes in environments where teamwork and shared success are valued, so seek opportunities that encourage collaboration and mutual benefit.

Embrace Libra’s love for beauty and balance by pursuing goals that harmonize practicality with creativity. Your ability to find equilibrium ensures that your ambitions are both achievable and inspiring.

Reputation: Graceful and Charismatic Presence

Libra in the tenth house shapes your public image as someone charming, diplomatic, and fair-minded. You’re seen as a professional who brings elegance and balance to every endeavor, earning respect for your ability to mediate conflicts and create harmonious solutions.

To glow up your reputation, focus on showcasing your interpersonal skills and aesthetic sensibilities. Present yourself with confidence and refinement, whether through public speaking, personal branding, or creating visually appealing work.

Embrace Libra’s social energy by cultivating connections and networking strategically. Your reputation for grace and charisma will naturally draw opportunities and allies to your cause.

Leadership: Diplomatic and Inclusive Leadership

Libra in the tenth house makes you a diplomatic and inclusive leader who excels at bringing people together and fostering cooperation. You lead by creating a sense of balance and ensuring that everyone feels heard and valued.

To glow up your leadership skills, focus on strengthening your decision-making while maintaining your ability to mediate and harmonize. Balance your natural inclination to consider all perspectives with the confidence to take decisive action.

Embrace Libra’s relational energy by encouraging teamwork and creating an environment where collaboration thrives. Your ability to inspire unity and fairness makes you an admired and effective leader.

Achieving Success: Harmony and Elegance in Action

Libra in the tenth house ensures your path to success is built on relationships, creativity, and a commitment to fairness. You’re drawn to roles that allow you to work with others, create beauty, or bring justice and balance to the world.

To glow up your journey toward success, focus on refining your negotiation and networking skills. Libra energy thrives on connection, so building strong professional relationships will be key to achieving your goals.

Embrace Libra’s aesthetic sensibility by incorporating beauty and harmony into your work. Whether it’s designing elegant presentations, creating inspiring solutions, or simply ensuring your workspace is pleasant and organized, these touches enhance your sense of purpose and success.

𝐒𝐂𝐎𝐑𝐏𝐈𝐎 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Scorpio ruling this house, your approach to these themes is intense, transformative, and deeply strategic. Ruled by Mars and Pluto, Scorpio in the tenth house brings a powerful and magnetic energy to your journey, emphasizing resilience, resourcefulness, and the ability to lead through profound change. Your glow-up involves embracing your transformational leadership skills, building a reputation for depth and determination, and achieving success through passion, focus, and the fearless pursuit of your goals.

Ambition: Passionate and Strategic Goals

Scorpio in the tenth house thrives on ambitious goals that challenge you to grow and push boundaries. You’re drawn to careers and projects where you can delve deeply, create meaningful change, or wield influence, such as psychology, research, finance, or leadership in transformative industries.

To glow up your ambition, focus on identifying goals that ignite your passion and align with your inner drive for transformation. Develop a clear strategy for achieving them, leveraging your ability to navigate complex situations with precision and determination.

Embrace Scorpio’s fearless energy by pursuing bold and transformative ambitions. Your ability to stay focused and committed ensures that you can achieve what others might see as impossible.

Reputation: Powerful and Resilient Presence

Scorpio in the tenth house shapes your public image as someone intense, resourceful, and unshakably determined. You’re seen as a professional who can handle challenges with grace and navigate crises with skill, earning respect for your depth and strength.

To glow up your reputation, focus on showcasing your ability to solve problems and lead through transformation. Let your resilience and ability to overcome adversity shine in your professional story.

Embrace Scorpio’s magnetic energy by owning your authority and confidence. People admire your ability to stay composed under pressure and are inspired by your willingness to tackle difficult issues head-on.

Leadership: Transformative and Empowering Leadership

Scorpio in the tenth house makes you a transformative leader who excels at guiding others through change and uncovering hidden potential. You lead with a mix of intensity and empowerment, inspiring trust and loyalty in those who follow you.

To glow up your leadership skills, focus on building emotional intelligence and fostering trust within your team. Use your ability to read between the lines and understand unspoken dynamics to create a supportive and empowering environment.

Embrace Scorpio’s transformative nature by encouraging innovation and growth within your organization. Your ability to see the bigger picture and navigate complex challenges makes you a visionary leader.

Achieving Success: Resilience and Focus in Action

Scorpio in the tenth house ensures your path to success is built on resilience, focus, and an unwavering commitment to your goals. You’re drawn to roles that allow you to transform systems, uncover hidden truths, or create profound impact.

To glow up your journey toward success, focus on staying adaptable and strategic in the face of challenges. Use your ability to dig deep and uncover solutions that others might miss.

Embrace Scorpio’s passion for growth by continuously refining your skills and knowledge. Your determination and resourcefulness are key to achieving long-term success and leaving a powerful legacy.

𝐒𝐀𝐆𝐈𝐓𝐓𝐀𝐑𝐈𝐔𝐒 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Sagittarius ruling this house, your approach to these themes is expansive, optimistic, and visionary. Ruled by Jupiter, Sagittarius in the tenth house brings a boundless and adventurous energy to your journey, emphasizing the importance of exploration, teaching, and inspiring others. Your glow-up involves achieving success through visionary leadership, building a reputation for wisdom and enthusiasm, and pursuing goals that reflect your passion for growth, freedom, and making a meaningful impact.

Ambition: Expansive and Visionary Goals

Sagittarius in the tenth house thrives on ambitious goals that allow you to expand your horizons and inspire others. You’re drawn to careers and projects that involve teaching, travel, publishing, or global initiatives—anything that helps you explore the world and share knowledge.

To glow up your ambition, focus on setting goals that challenge you to grow and embrace new opportunities. Seek roles that align with your love for learning and your desire to make a broad impact, such as leadership positions in education, media, or international organizations.

Embrace Sagittarius’ expansive energy by keeping your sights on the bigger picture. Your ambition is fueled by your ability to dream big and take inspired action toward those dreams.

Reputation: Inspiring and Visionary Presence

Sagittarius in the tenth house shapes your public image as someone optimistic, wise, and forward-thinking. You’re seen as a professional who brings enthusiasm, positivity, and a sense of adventure to everything you do, earning respect for your ability to inspire and lead.

To glow up your reputation, focus on showcasing your knowledge and passion for growth. Share your insights through speaking engagements, publishing your ideas, or mentoring others. Sagittarius thrives on sharing wisdom, and your reputation will grow as you connect with those who admire your visionary outlook.

Embrace Sagittarius’ charisma by engaging with diverse audiences and expanding your professional network. Your enthusiasm and openness draw others to you and elevate your standing.

Leadership: Visionary and Motivational Leadership

Sagittarius in the tenth house makes you a motivational leader who excels at inspiring others to pursue their potential and embrace new possibilities. You lead by sharing your vision and encouraging exploration and innovation.

To glow up your leadership skills, focus on balancing your optimism with grounded decision-making. While your visionary ideas are inspiring, combining them with practical strategies ensures that your leadership is both aspirational and effective.

Embrace Sagittarius’ global perspective by fostering inclusivity and encouraging diverse viewpoints. Your ability to motivate and unify others makes you a respected and impactful leader.

Achieving Success: Growth and Exploration in Action

Sagittarius in the tenth house ensures your path to success is filled with growth, adventure, and opportunities to explore new frontiers. You’re drawn to roles that allow you to expand your knowledge and share it with the world, whether as a teacher, traveler, or entrepreneur.

To glow up your journey toward success, focus on staying adaptable and open to new experiences. Sagittarius energy thrives on freedom, so seek opportunities that allow you to innovate and explore.

Embrace Sagittarius’ love for adventure by pursuing projects that excite your spirit and push you beyond your comfort zone. Your ability to combine passion with purpose ensures long-term achievement and fulfillment.

𝐂𝐀𝐏𝐑𝐈𝐂𝐎𝐑𝐍 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Capricorn ruling this house, your approach to these themes is disciplined, strategic, and focused on long-term achievements. Ruled by Saturn, Capricorn in the tenth house brings a structured and determined energy to your journey, emphasizing hard work, perseverance, and the creation of a lasting legacy. Your glow-up involves achieving success through steady effort, building a reputation for reliability and excellence, and leading with authority, integrity, and a vision for the future.

Ambition: Disciplined and Long-Term Goals

Capricorn in the tenth house thrives on setting ambitious, long-term goals that lead to enduring success. You’re drawn to careers and projects that require persistence, strategic thinking, and the ability to build something meaningful over time, such as leadership roles, business, or fields like law, finance, or engineering.

To glow up your ambition, focus on breaking your goals into actionable steps and creating a clear timeline for achieving them. Your disciplined approach ensures consistent progress, even when faced with challenges.

Embrace Capricorn’s determination by committing to your vision and staying patient. Your ability to see the bigger picture and work steadily toward it is your greatest strength.

Reputation: Respected and Reliable Presence

Capricorn in the tenth house shapes your public image as someone responsible, trustworthy, and highly competent. You’re seen as a professional who delivers results and upholds high standards, earning respect and admiration from colleagues and peers.

To glow up your reputation, focus on consistently demonstrating your expertise and dedication. Take on leadership roles or high-profile projects that showcase your ability to handle responsibility and deliver excellence.

Embrace Capricorn’s grounded energy by maintaining professionalism in all your interactions. Your reputation for reliability and integrity will naturally attract opportunities and recognition.

Leadership: Structured and Authoritative Leadership

Capricorn in the tenth house makes you a natural leader who excels at creating order, implementing systems, and guiding others toward long-term success. You lead with authority and a clear sense of purpose, inspiring confidence in those who follow you.

To glow up your leadership skills, focus on balancing your high standards with empathy. While Capricorn’s energy values discipline and results, fostering a supportive and collaborative environment strengthens your leadership impact.

Embrace Capricorn’s strategic mindset by setting clear goals for your team and providing the tools and guidance they need to succeed. Your ability to lead with structure and vision makes you a respected and effective leader.

Achieving Success: Persistence and Excellence in Action

Capricorn in the tenth house ensures your path to success is built on a foundation of hard work, resilience, and an unwavering commitment to excellence. You’re drawn to roles that allow you to climb steadily toward your goals, often excelling in fields where expertise and leadership are highly valued.

To glow up your journey toward success, focus on honing your skills and staying adaptable to changes in your industry. Capricorn energy thrives on continuous improvement, so prioritize learning and growth throughout your career.

Embrace Capricorn’s love for tradition and legacy by pursuing projects that leave a lasting impact. Your ability to combine ambition with integrity ensures your success will stand the test of time.

𝐀𝐐𝐔𝐀𝐑𝐈𝐔𝐒 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Aquarius ruling this house, your approach to these themes is innovative, forward-thinking, and driven by a desire to create positive change. Ruled by Saturn and Uranus, Aquarius in the tenth house brings a visionary and unconventional energy to your journey, emphasizing originality, collaboration, and a commitment to collective progress. Your glow-up involves achieving success through groundbreaking ideas, building a reputation for innovation and inclusivity, and leading with a futuristic vision that inspires others.

Ambition: Visionary and Change-Oriented Goals

Aquarius in the tenth house thrives on pursuing ambitious goals that challenge the status quo and have the potential to transform industries or communities. You’re drawn to careers and projects that emphasize innovation, technology, humanitarianism, or progressive ideals.

To glow up your ambition, focus on setting goals that allow you to think outside the box and embrace your creative potential. Seek opportunities that align with your passion for advancing society, whether through scientific research, community building, or entrepreneurial ventures.

Embrace Aquarius’ visionary energy by daring to dream big and pursue unconventional paths. Your ability to see possibilities where others see limitations is a hallmark of your ambition.

Reputation: Innovative and Inclusive Presence

Aquarius in the tenth house shapes your public image as someone ahead of your time, inclusive, and deeply committed to progress. You’re seen as a trailblazer who brings originality and a collaborative spirit to every endeavor, earning respect for your ability to think differently and lead with compassion.

To glow up your reputation, focus on showcasing your unique perspective and your dedication to inclusivity. Share your ideas through public speaking, online platforms, or innovative projects that demonstrate your forward-thinking approach.

Embrace Aquarius’ collaborative nature by building strong networks and connecting with diverse groups. Your ability to unify and inspire others will naturally elevate your public image and reputation.

Leadership: Visionary and Collaborative Leadership

Aquarius in the tenth house makes you a visionary leader who excels at inspiring teams to work toward common goals. You lead by fostering innovation, empowering others, and creating an inclusive environment where everyone’s voice is valued.

To glow up your leadership skills, focus on building strong communication and actively encouraging creative input from your team. Aquarius energy thrives on collective progress, so involving others in your vision strengthens your leadership impact.

Embrace Aquarius’ future-focused energy by staying open to new technologies, methodologies, and perspectives. Your ability to lead with clarity and foresight makes you a trailblazing figure in any professional setting.

Achieving Success: Innovation and Inclusivity in Action

Aquarius in the tenth house ensures your path to success is built on originality, collaboration, and a commitment to creating meaningful change. You’re drawn to roles that involve breaking boundaries, advancing technology, or championing social causes.

To glow up your journey toward success, focus on honing your skills in areas like technology, communication, or advocacy. Aquarius energy thrives in cutting-edge fields, so prioritize staying informed and adaptable to emerging trends.

Embrace Aquarius’ humanitarian spirit by pursuing projects that align with your values and have the potential to benefit society. Your ability to combine personal ambition with collective progress ensures a legacy of meaningful impact.

𝐏𝐈𝐒𝐂𝐄𝐒 𝟏𝟎𝐓𝐇 𝐇𝐎𝐔𝐒𝐄

The tenth house governs ambition, reputation, leadership, and career success. With Pisces ruling this house, your approach to these themes is intuitive, compassionate, and deeply creative. Ruled by Jupiter and Neptune, Pisces in the tenth house brings a dreamy and idealistic energy to your journey, emphasizing the importance of pursuing meaningful work, leading with empathy, and building a reputation for inspiration and artistry. Your glow-up involves achieving success by following your intuition, building a reputation for emotional intelligence and creativity, and leading with a vision that uplifts and unites others.

Ambition: Compassionate and Visionary Goals

Pisces in the tenth house thrives on pursuing goals that are emotionally meaningful and spiritually aligned. You’re drawn to careers and projects that allow you to express your creativity, inspire others, or contribute to the greater good, such as the arts, healing professions, or spiritual guidance.

To glow up your ambition, focus on identifying goals that resonate with your deepest values and passions. Set intentions that allow you to channel your intuition and imagination into impactful work, whether it’s creating art, writing, or leading initiatives that bring healing and connection.

Embrace Pisces’ visionary energy by remaining open to possibilities and trusting your instincts to guide you. Your ability to dream big and connect emotionally with your work fuels your success.

Reputation: Inspirational and Creative Presence

Pisces in the tenth house shapes your public image as someone compassionate, artistic, and inspiring. You’re seen as a professional who leads with empathy and vision, earning admiration for your ability to bring beauty, meaning, and understanding to your field.

To glow up your reputation, focus on showcasing your creative and emotional strengths. Share your work and ideas through storytelling, performances, or visual presentations that reflect your unique perspective and touch hearts.

Embrace Pisces’ ethereal energy by cultivating a public image that exudes authenticity and warmth. Your ability to connect emotionally with others makes you unforgettable and deeply respected in your community.

Leadership: Intuitive and Empathetic Leadership

Pisces in the tenth house makes you an intuitive and empathetic leader who excels at guiding others through inspiration and emotional connection. You lead by creating an environment of trust, compassion, and shared vision, inspiring those around you to bring their best selves to the table.

To glow up your leadership skills, focus on developing emotional intelligence and practicing active listening. Your ability to understand and support your team’s needs creates a collaborative and harmonious workplace.

Embrace Pisces’ creative and visionary energy by fostering innovation and encouraging imaginative problem-solving. Your ability to lead with heart and intuition makes you a beloved and effective leader.

Achieving Success: Creativity and Compassion in Action

Pisces in the tenth house ensures your path to success is built on your ability to inspire, connect, and create. You’re drawn to roles that allow you to merge your dreams with tangible impact, often excelling in fields like the arts, therapy, or spirituality.

To glow up your journey toward success, focus on balancing your visionary ideas with practical action. Pisces energy thrives when creativity is grounded in purpose, so develop strategies to bring your dreams to life.

Embrace Pisces’ love for unity and healing by pursuing projects that foster empathy, connection, and beauty. Your ability to combine compassion with artistic vision ensures a legacy of meaningful contributions.

Masterlist this series - TikTok (Matrix of Destiny) - Masterlist - YouTube (subliminals)

[d-oie]

well since she blocked me after begging me for a reply i'll write my reply here, im sure her defenders will send her a ss of what i said. first the comment :3

no one is hating on you nor is anyone saying youre not creative, ive said multiple times that i use to defend you myself and that i love your moodboards.. the original ones that is. i think you're a very talented person liia, but that doesn't take away from the fact you stole/copied/were heavily inspired. this whole thing was blown way out of proportion, you pretend you did these things like finding the images online and somehow it looks the same as someone elses saying that its just inspo but that is NOT what inspo is, ive seen you tag creators like n-americano when you're inspired by them, but what about these? and what about the images you take from others moodboards and have "images edited by me" in your moodboards knowing some arent, if you can credit yourself you can credit others. my post wasn't to turn the whole world against you nor was it to make you seem like a bad person, if thats how people interpreted it then so be it, i have an actual life and don't care if a bunch of people attack me online when i can just power off my device. my main objective was to wake you up. to make YOU realize you're in the wrong, sure it was also to bring light to the situation and let the creators you copied see what you were doing which I dont think is wrong. this whole thing couldve been avoided if you were apologetic, if you just said "hey, i see how these moodboards look very similar along with some of my others, i apologize and this will never happen again." instead you and many others dragged it. i was genuinely willing to hear you out and talk to you in dms but since you blocked me i can't.

my response to your dm

you never clarified you didn't steal from others, those past accusations never came with evidence so you could have easily brushed it off, you saying that you were just inspired and that these images don't belong to anyone isn't what your situation is, inspiration doesn't compare to what you're doing, what youre doing is plain plagiarism. you want to sit here and tell me "i didnt mean to copy" when i can clearly see y-unjins moodboard in yours. i tried to give you my respect since i'm also a "content creator" but you keep giving the same excuse when you know youre in the wrong, then you assume i want to start drama like i live on it, sweetie no, not everything is to attack you, if someone believes you've done wrong and you're not taking accountability for your actions you will be called out. why should i turn a blind eye when i know the hard work someone went through in order to make their moodboard just for you to take the images? im not saying its illegal for people to use one or two of the same images from another moodboard but youre on a whole new level, you're mad i'm posting about this but imagine the creator's you've stolen from. the thing im mostly confused about is why, why would u steal from others creators when one, youve been called out for this before, and two, you're moodboards and dividers are beautiful, so you have no reason to steal from others when YOU yourself dont want people to steal from you and you have your own form of creativity. and again its you talking about how "if taking inspo is copying then everyone would be copying" ... like do you not understand the situation youre in? you know youre in the wrong and this trash ass excuse aint getting you nowhere.

im not even gonna go in on this, if you cant reply to your ask truthfully why would you reply to my dm truthfully? if you were mature enough to admit your wrongs instead of going on a whole rant about why your friends hate you then this post would have never existed. how hard is it to admit your wrongs and start anew? i get it, everyone makes mistakes, but everyone can always own up to and fix their own mistakes.

i guess im evil for bringing the truth to light, if this were to happen to me ID OWN UP TO MY MISTAKES. yes taking inspo isnt bad but if it gets to the point i get called out for copying when i personally believe i was just being inspired by others id apologize and see what i can do differently, since ya know, im at that point in life where i can admit my wrongs, you on the other hand did not do so and tried to pretend it wasnt an exact replica. my post wasnt to bring hate or spit on your name, if anyone sent you aggressive comments then you have the action to report or block them, i cant control what people say, damn i can rarely control what i say, and i dont know where youre getting the idea that i hate you when i never once said that and i actually said this not only once, not twice, not thrice, but multiple times that i use to respect you, you were one of many creators that i would defend with my life, you use to inspire me, now i feel nothing, just disappointment which is what a lot of people feel, that doesn't give you the right to guilt-trip your mutuals, like what your "defender" said, moots are like real friends, once you lose their trust its hard to gain it back, if you really cared you wouldn't have allowed this to get blow way out of proportion and would have just admitted your wrongs, hell when you dmed your entire following list you should have explained the situation to them rather than trying to make them feel bad for how THEY feel about the situation. then you have the audacity to say "dare to tell me to my face rather than being a coward" as if youre not one? you escalated the situation, youre the one who's been sitting on your ass feining for my reply, crying to your moots how they're bad friends for believing this even though theres full blown evidence. im not a coward, i had the balls to post this knowing you'd see it, you're acting as if i was leaving you in the dark, like i didnt think you would ever see this post, like i was plotting on your downfall behind a secret account. "think before acting" how about you follow your own advice before trying to give advice to others. thanks.

i didnt want this to go this far, i believed that once i posted this you would admit your mistakes and change for the better, i didnt unfollow you because i wanted to see you continue to grow and continue to be the amazing creator you are without the copying, but i guess that was just a fairytale and i have to face the reality of randos on the internet not being able to take accountability.

Hi guys, it's come to my attention that someone in the moodboard community known as lil-liaa has been copying / taking heavy "inspo" from other creators like @y-unjins and @iluvrei view more for more info + evidence + my opinions on the whole situation

before i start, i'm not trying to run lil-liaa off the platform nor am i trying to stur up drama, this is just to bring light to the situation as not many people know and many people (including myself) defended her when this first happened, i also want liia to realize that what she's doing isn't right and that she shouldn't just brush off "accusations" like these when there is evidence.

proofs

you can see the similarities as lil-liaa used 3 of the exact same pics as iluvrei's including one edited by the original creator without adding credits to the post.

2nd

here you can instantly tell that the moodboard was copied (lil-liaas on the right being an exact replica of y-unjins), only changing 2 pics excluding the idol change and

3rd / last

lastly, you can see how one lia used the exact same divider (+ didnt give creds), two she uses the same images not only in the moodboard but also in her gif (same pics from y-unjins moodboard including the png)

now, lil-liaa was sent multiple anonymous ask from last year and one recently accusing her of stealing moodboards, although a lot of people defended her last year including me due to the ask having no sorts of proof of moodboards being stolen and no one else speaking on it but now the recent ask she has received included proof and her response to it was very (in my opinion) rude and just sounded like she didn't care.

in my opinion, i don't believe this was just a draft she had premade and i don't believe she somehow got the same exact photos from y-unjins moodboard recommended, i believe since this isnt the first accusation and now there's proof of this i believe she has been copying moodboards since last year when she was accused. i don't believe lil-liaa cares about this, the fact she's stealing from other creators and when she gets called out for it she pushes it off with the same excuses

tags

@miujo @rkkuri @lvioung @ciestial @aeraras @sugarish @gyareii @i-kyujin @daddldee @i-mmaculatus @haerinism @chaeryeos @bloomqi @h-yeoni @p-oisn @bitchey @yeritos @yonkiibums @y-vna @y-urios @fairytopea @shuaver @yeoniis

[luvsfics]

LADY OF THE LAKE — House of the dragon

Aemond Targaryen x Tully!Original character

Description: The one-eyed prince is betrothed to a Tully. A fish and a dragon, a horrid match. Perhaps, with time, the two find they fit each other well after all. A dragon rules the skies, while the fish rule the sea.

Chapter warnings: mentions of arranged marriages.

Authors note: it’s been forever since I’ve posted, let’s hope I’m not too rusty. I tried to keep on theme with the Sesame Street names and I didn’t really like ‘Abby’ for a Tully so Natasha it is!

As beautiful as the maiden herself, many said about the daughter of Elmo Tully. Long locks of auburn hair and eyes as blue as the ocean, the perfect image of effortless beauty and innocence. Yet, beauty wasn’t all that mattered to the one-eyed prince. A pretty face isn’t all he wanted in a wife. What if she was dull, or just plain dumb?

“An alliance with the Tully’s will be a great opportunity for us, Aemond.” His mother explained, her face painted with annoyance. His eyebrows furrowed, why must he suffer the same fate of a loveless marriage just like his mother and father? Many thoughts raced through his mind.

He would’ve much preferred the solace of never marrying and becoming commander of the city watch. Many women have expressed behind closed doors their distaste for the prince, how hideous his scar was, or how he would never have time for a woman with his studies and training. why would he want to condemn anyone to such a fate of being wed to the maimed prince?

Yet, sometimes, late at night, he imagines what it would be like to have a wife. Someone to hold close, someone to protect, someone to start a family with. Nothing like the marriage between his parents, he would be good to his wife unlike his father.

“It is not up to you, anyway. You will meet the girl and you will serve your part as prince of the realm.” Alicent said, huffing out a sign of anger.

His nostrils flared. Aemond stormed out of the council room where few lords sat, swiftly making his way through the halls of the castle. His head swirling with anger as he made his way to the training grounds to begin his practice for the day.

Natasha’s heart raced in fear. Many accounts of people have spoke of the second son of the king’s gruesome looks and rough attitude.

“It is a great opportunity and honor to be considered for this,” her handmaiden said as she laced up her corset. Her father had broken the news to her earlier that morning. They were preparing to set off to kings landing in before noon to reach kings landing by the morning.

She gulped. The horrid feeling of nausea flooding her stomach.

What if he didn’t think her worthy of him? What if he was the cruel man rumors say he is? What if he is ugly? Her thoughts racing around her head.

Of course, she dreamt of becoming a wife to a loving husband and mother to beautiful babies. Yet, it felt as if her world came crashing down at the thought of her betrothal to the prince of the realm.

“You will be a princess!” The young girl exclaimed with excitement as she tied the laces into a bow. Natasha let out a nervous laugh, attempting to lighten her own mood.

She prayed to all seven gods for their mercy, for she might need it in the days to come.

The roads to kings landing were long, with her brothers Oscar and Kermit’s immature mocking, singing of their sisters betrothal to the prince.

“Nattie will be a princess! All prim and proper!” Oscar exclaimed, Kermit laughing as if it were the funniest thing in the world.

Natasha scoffed. “So hilarious, Oscar.” She rolled her eyes.

“Imagine having to marry AND bed the prince Aemond, commonly know for his horrific looks!” Kermit was almost dying of laughter as he spat out.

“Father!” Natasha turned to her side, the lord of riverrun barely listening to his children as he shoved his nose in scrolls.

“Stop tormenting your sister, boys.”

The brother’s laughter just barely died down as they whispered jokes to themselves.

Natasha shifted her gaze outside the window of the carriage, taking in the beautiful scenery of the kings road as dawn rose. Her nerves slowly returned, nausea seeping back into her stomach as they approached kings landing.

The heavy sound of gates opening made her heart stop, they were there. They were finally there.

The carriage came to a stop. “Lord Elmo Tully, Lord paramount of the trident and Lord of Riverrun and his children, Kermit, Natasha, and Oscar Tully.” The Guard announced.

Her father stepped out of the carriage to be greeted by the hand of the king, Otto Hightower. The boys went next, bowing to the Hightower lord. Lastly, Natasha.

With her beautiful grey-blue dress with sliver embroidery to represent her house, which contrasted prettily with her Mahogany colored hair and blue eyes. Fitted perfectly to her features and picked by her hand-maiden herself.

“My daughter, Natasha.” Her father gently took her hand and presented her to the hand. She gracefully curtsied, “A great pleasure, my lord hand.”

“Indeed, my lady. The Queen asked me personally to escort you all to the Godswood where she and the Prince Aemond await your arrival.” The hand said with a soft grin.

Natasha took in a breath, which was hard with how tight her handmaiden, Elissa, tied it. The hand led the family through the keep. Elissa quickly caught up to them from the other carriage, linking her arm with her lady’s.

The beautiful weirwood tree came into view as the guards opened the doors to the Godswood. Standing under it, the Queen of the seven kingdoms and the Prince Aemond with Guards and maids roam the area.

“Please, we have refreshments over there. Help yourselves.” Otto said as he made his way over to his daughter and grandson, most likely to prepare everyone for this meeting.

Elissa and Natasha stood to the side as her brothers raided the table of food and drink. “My heart feels like it might burst.” Natasha whispered.

Her back was turned to the prince, she was too frightened to meet his gaze. “It is alright, my lady. You are kind and smart and very beautiful. What isn’t there for the prince to like?” She caressed her arms.

Elissa peaked beside Natasha to look upon the prince. His sharp looks and long silver hair weren’t completely…unpleasant to look at.

“He is actually quite handsome, my lady.” Elissa smiled.

The River-lady slowly turned her head to the weirwood tree. Her eyes meet the side of the prince. His face chiseled and strong, his long silver hair pulled half-up, his Valyrian features graced her vision.

Her gaze raked over his form. His strong arms in his tunic and small waist she was almost jealous of. He looked as if he walked out of one of her romance books. A dashing knight for her to love and to hold.

Aemond’s gaze met her own. Her heart hammered in her ribcage as if she looked upon the face of a god. His own eyes widened, mimicking her own.

Through his own eyes, he felt the same. Her long, locks of red, shining in the sunlight of dawn, almost like a halo. Her striking ocean blue eyes staring into his own, and her delicate features. She was like an angel, cursed to live her life with him.

Her dress fitting her body perfectly, though he shamed himself for the those thoughts. For all have said she was beauty of the maiden herself.

“She’s quite beautiful, is she not, Aemond?” Otto asked his grandson.

“Quite.” He hummed.

[billiereid]

Toys: Haikyuu!! x Reader

Warnings: Rated X. This content is intended for readers ages 18 years or older. Minors, do not interact.

Featuring: Toru Oikawa. Hajime Iwaizumi. Wakatoshi Ushijima. Satori Tendo. Fem!Reader.

Contains: Phone sex. Dom/sub dynamics. Begging. Voyeurism / Exhibitionism. Use of vibrators and/or dildos. Overstimulation. Sadist!Tendo. Mention of penetrative sex.

Summary: The subject of toys in the bedroom can be controversial. Everyone seems to have their own opinions, especially when their partner is involved. Here's how I think some of the Haikyuu!! men would feel about their female partner having a toy.

Author's Note: This is written post-timeskip. All characters are written to be adults.

Toru Oikawa

He was the person suggesting them in the first place.

Oikawa is away for his volleyball games all the time. So the two of you picked out a couple to use while he’s away. 

When you’re together, he loves watching you get desperate with a vibrator on your clit.

And when he’s away, he has a hard time keeping his hands off himself when he hears you over the phone. 

The squelch of your hot, sticky, wet pussy. Your soft moans. 

And there are a few things you can say to get him really desperate and needy, all for you. 

“Please, Toru,” you whimpered into the phone, tucked between your cheek and the pillow. “Need more… Iss not enough…” Your words were slurred, but Oikawa heard them all the same. He could hear the buzzing of a vibrator in the background. He knew which one it was, of course.

Toru’s voice shook as he spoke, and you knew he was stroking himself vigorously. “Aw, sweet girl,” he cooed, trying to maintain his dominant persona. But when his mind was filled with the sensation of your sweet sex clenching around him, it was hard not to whimper out loud. “It’s not enough? You miss my cock that bad?”

“Yes! Yes, miss you s’much,” you blurted out, your voice getting more and more desperate as the seconds pass. “Wanna come for your cock…”

Oikawa did his best to stifle his voice, but a slutty moan still dripped from his lips as you begged for him. “Oh babygirl,” he groaned. “Don’t worry. When I get home I’m gonna make you come so hard you can’t walk straight.”

Hajime Iwaizumi

He was a little bit intimidated by the fact that you have a toy.

The idea that something besides him could bring you so much pleasure is…

Well…

Disconcerting to him.

But then he walked in on you while you’re using it.

And he was s m i t t e n.

Both of you seemed to be frozen in time.

Iwaizumi was home early from a training session. He wasn’t supposed to be home yet. You were having a little bit of alone time. You hadn’t even heard the front door to your shared apartment open and shut. You didn’t even realize he was home until the door to your shared bedroom swung open, allowing the golden light from the hallway to pour into the dark room.

He saw you then. Wide eyes. Face flushed with pleasure. Wand attached to your clit. Pussy leaking with your arousal. You were frozen in time, startled by seeing him so abruptly in such a vulnerable position.

“Fuck, baby…” he uttered in a whisper, almost a growl. He didn’t dare move yet, wanting to burn this image into his memory for the rest of time. After a moment, he lets his duffle bag fall to the floor and takes a couple of steps toward the bed, eyes trained on your weeping pussy. He couldn’t tear his gaze away, couldn’t bear the thought.

He sat on the bed, roughly tugging his dick free from his shorts and boxers. “Don’t fucking stop,” Hajime uttered quietly, as if being too loud was going to ruin the moment. “I wanna see you come.”

Wakatoshi Ushijima

He enjoys the fact that you have toys.

But he will very rarely use them on you. 

It isn’t that he doesn’t like them, or that he doesn’t want to.

He just doesn’t usually think about it.

But if you ask…

This man will literally do anything you ask.

You had been so unbelievably sweet when you asked. 

Ushijima couldn’t say no to you. Not when you were laid underneath him in just your panties, looking up at him with those eyes… 

And now, here you were, laid underneath him. Your legs were wrapped around his waist. He was buried inside you to the hilt, thrusting slowly. He held a wand to your clit. He could feel the powerful vibrations on his dick. He was desperate now, watching you squirm and whimper under the overwhelming pleasure he was giving you. 

You had come at least four times now, but Wakatoshi wasn’t stopping. In this moment, he was obsessed with the way you twitched underneath him. And that feeling only intensified when your cunt started gushing around his dick.

“Oh, sweetheart,” he groaned, almost mindlessly. “You look so fucking gorgeous like this…”

Satori Tendo

He’s a sadist if I ever did see one.

In all seriousness, he loves toys in the bedroom.

He never does last very long on his own.

So he likes to torture you with toys first, so he can make the moment last as long as possible.

How long had it been? How many times had you already come?

You had lost track. It seemed like hours that you had laid underneath Tendo on the bed. Your squirt covered your thighs, your ass, the sheets beneath you, and Satori’s face and hands. Your eyes were glassy, your face flushed, your legs trembling as you did your best to keep them spread. There was a fresh, red handprint on your inner thigh where he had punished you for letting them fall closed before. 

But he hadn’t lost track. No, he was keeping a very detailed count of how many times you came, how many times you squirted, how many times the pleasure had brought tears to your eyes. Which toys made you come the hardest, which ones made your eyes roll back, which ones made your legs shake, and which ones made you squirt. The selection of toys he had used was spread out on the bed next to you, each one more covered in your slick and come than the last. 

Finally, you watch Tendo take off his boxers. Even with your tired, glassy eyes, you could see how hard it was. It was an angry shade of red, the veins prominent up and down the length. You wondered if it hurt him to be that hard, but he didn’t seem to mind. He lifted your legs over his shoulders, practically bending you in half as he leaned down and whispered in your ear, “You think you can come one more time for me?”

[angelinthefire]

Re: @fieldofheathers-stuff

I think approaching Arcane as a tragedy is interesting because I actually never got a tragedy vibe from it. Probably because I believe it ends on a more hopeful note. Cait and Vi together, and particularly the airship sailing into the distance. Even without the implication that Jinx is alive and on board, it's just a hopeful image imo. (I'm also coming into this with the assumption that no body=not dead. For Jinx, that's obvious, and i think you're supposed to conclude that she's alive, or at least it's very open ended. But I also think that it would be easy to bring back Warwick, Jayce, and Viktor too.)

If we're talking about tragedy, I think it's useful to have a more specific definition. There's Greek tragedies - trying to escape fate and failing. And Shakespearian tragedies - when the hero's greatest strength becomes the source of their downfall. (And there’s probably others and more detail you can get into, but I'm just talking about what I remember from high school, lol)

And there are definitely story arcs that are mostly tragic, in both senses. Like Jinx trying to escape the fate of killing the people she cares about. And Viktor’s unswerving determination to make something of himself being both the cause of his rise and his fall.

But then there's a reversal at the end of their stories. Jinx uses her destructiveness to save Vi, her curse becomes her strength. Viktor's determination is met by Jayce's determination to save him, and the inescapability of their friendship. For both of them, the mechanic of the other kind of tragedy takes over. And both of them find a kind of redemption, rather than the utter ruin that's typical of tragedies.

(This is all just occurring to me now btw)

Re: @klorophile and the idea that season 2 should have gone differently.

I disagree with that. I think the two seasons really need to be taken as a unit. The fact that season 2 involved things becoming their opposite doesn't change that they're a single story - again in Shakespeare things becoming their opposite is part of the tragedy. I also don't think the end of season 1 really functions as an ending on its own either, to me it's more of a turning point.

I also think it's a mistake to say that the message is that "you pay the consequences for your actions." That’s punishment, not consequences. Consequences can be unforseen, they can be chaotic, they can be entirely disproportionate. I think that's established very early on.

I also want to point out that in my original post, I'm talking about plot, not themes. Like the way the story is structured. It's more about characters dealing with stuff than trying to accomplish stuff.

If "consequnces" are a theme, I don't think the show is saying that consequences are payment for wrongs. It's just that everything is connected. Everything is part of a chain of actions and reactions, that you cannot control. At most, the show is saying that it's vain to think that you can plan and forsee all the consequences of your actions.

And season 2 was absolutely necessary for that, because season 2 is when things really got chaotic and out of control.

It's not about characters having to pay consequences. It's about characters having the "oh shit, this isn't what I thought it would be" realization. Every character goes through that. Where they get what they thought they wanted, but it comes along with something unexpected and unwanted.

For Caitlyn, she's always had a very strong sense of justice, and in season 1 she's always fighting against those with more power than her. And then in season 2 she is in a position of power, and she immediately does bad things. Her sense of justice doesn't matter. No one in power is innocent. That's what I get from her arc, and whether or not she suffers as a result of her actions is irrelevant. (even though she does lose an eye. that's pretty serious). She failed and she has to live with the knowledge that she failed. The consequence of her failure is that she brought war to her city.

With Jinx, it's very heavily implied that she did not die, that she escaped the explosion through the air ducts and left Piltover, that she broke the cycle and walked away. Which is what she wanted, she wanted to be free from the cycle of killing and death.

But even if you do take her ending in season 2 as a true death. She's not paying a price for her mistakes, not at all. There's a schnee video that gives a really good take on this, even though I disagree with him and belive that Jinx is alive. All Jinx ever wanted was to help the people she cares about. But time after time, she's cursed, she hurts them instead. Even when she starts to turn things around, Isha dies anyways. So Jinx sacrificing herself for Vi is a way for her to finally save her sister. Blowing up their father figure with the monkey bomb saves the day instead of destroying everything. (But again, she's not really dead).

And to reiterate: the thing that changes about consequences for season 2 is that they become chaotic and unpredictable. This is described in the "pass me a tome" scene. There's a series of clear actions and reactions, but at a certain point, if a system is agitated too much, it starts producing unintended outcomes. That's what the wild rune is, that's what Isha falling into Jinx's life is, that's what Warwick is. Order and chaos is another big theme in the show, and season 1 covered the order side of things, it involved science mastering magic. Season 2 is the chaotic outburst that follows.

Regarding Viktor and Jayce, Viktor was the one who had to be stopped most of all, because Viktor was the one trying to remove disorder from the world. Jayce believed hextech was a curse because it created the apocalypse world that he experienced, but for that to come about it required Viktor as a catalyst, so Viktor being taken out was more important than eliminating hextech. The role that Ekko plays is very simply communicated in the line, "that device can't be". It's the contradiction that still exists despite all of Viktor's efforts that breaks through his armour.

For Vi and Jinx, yes they can mend their relationship and relate to each other as equals, but like I said in my original post, that's not really the point of their story. They can be sisters again, they can still love eachother despite everything each of them has done. But they're still stuck in a cycle. What Jinx needs most of all is not a good relationship with Vi, what she needs is a fresh start. She doesn't need to rewrite her story, she needs to build something new. And saving Vi, fixing their relationship, means that Jinx can start fresh without that baggage weighing her down.

And this comes back to my reply to fieldofheathers-stuff. In that I think Arcane is structured like a tragedy, but it's also not. I don't think it has a totally sad ending. Things are melancholy for Mel and Ekko. But Jinx is free to start something new. Vi and Cait get to be in love. Even Jayce and Viktor, their story ended with love and camaraderie.

Every work of fiction involves the creators pushing the characters in a certain direction because they want it to end a certain way. The real question is how natural it feels. I think Arcane does feel natural, because the characters do not wind up with the endings they "deserve", they end in a place that feels organic considering their journeys and their conditions.

I've been thinking about how I would most concisely sum up the plot of Acane. Because I think a lot of the complaints you see come from some people result from expecting it to be a certain kind of story that it's not.

And I think the most concise way to put it is that Arcane is about consequences. The first episode starts with an explosion, that the characters spend the rest of the arc dealing with the repercussions of. And then the first arc ends with two massive events - Powder killing her family and the invention of hextech - that they spend the entire rest of the show dealing with.

I think most of the stories we get from Western media are about achieving or accomplishing something, or the failure to achieve something. And you can frame Arcane in those terms. But I think to best understand the story, you have to step out of that typical framework. Because the thing with an achievement-based story is that there is a particular end goal in mind, and I don't think Arcand has that.

Like take Vi and Jinx, for example. A typical way to frame their story would be that it's about two sisters trying to rebuild their relationship. That presupposes a certain ending: They either succeed or fail at their relationship, and that's what the focus is on.

But it's not about that. It's about - how do you deal with an event that fundamentally changes you?

In season 1, Vi's answer was to recapture what things were like before. In season 2, they try to redo the past (saving Vander) and get a different outcome, but that's impossible. The answer comes with Ekko - to build something new.

And this is all over the show - action and reaction, how the arcane wakes up, killing is a cycle.

[glassladyoftheopera]

In Stars and Time as a Musical Follow Up: Costumes

Okay, a topic I may have enough thoughts on to make a full post about; costumes! (and a little bit stage craft in some places.)

This is mostly about what people would do if they wanted to actually put on a live version of this, versus treating it like a concept album. I am however going to mostly ignore cost restraints outside of like, truly ridiculous stuff.

So first, some general notes.

The color palette: we will still have all of the costumes and sets be in grayscale, with the red used in the 'say it's name' and Act 5 sequences probably mostly being done through lighting. We will not have the actors use skin paint though. I'm not that mean. The audience can buy the idea that the world is meant to be black and white just fine without it.

Materials: I would avoid overly synthetic looking fabrics to maintain the 'vaguely fantasy medieval' vibe, but I wouldn't worry about using actual natural fabric. Comfort and cleaning are higher priorities.

Ensemble: Not much to say about them! Just that the production would have to be careful to make sure everyone is in truly neutral grayscale and not let too warm / cool of grays slip in.

Okay, let's talk characters.

Siffrin is tricky basically every option for interpreting the cloak has it's own pros and cons. Having sleeves means better movement options for the actor, but they only show up in a handful of images in the game. Full poncho means we get Full Triangle Vibe, but it would hamper movement a lot. Cloak with a pinned closed front means we see more of the rest of the costume more often, which I wouldn't mind, but it does break up the classic triangle silhouette. It's honestly still my pick though. Then there's the eye patch. I know some shows just give characters eye patches, and as long as you're careful staging the dances it will probably be fine? But I assume semi-mesh eye patches for performers are a thing, so I'd try to find one of those. Lastly, hat. It probably couldn't be as absurdly big as in game without casting major shadows we don't want on Siffrin's face, so they'll need a slightly narrower brim and we'd keep the hat pinned in a more back position.

Mirabelle's outfit probably wouldn't need to change much, but her little fingerless gloves would need some reinforcement at the top to keep them from falling down her arms. There's also the matter of her needing to have her sword with her most of the show; it might need to be a little smaller than a true rapier, but Shakespeare shows have duels and such so we can make something work.

Odile wouldn't be particularly difficult to costume as long as you don't make her sweater / jacket too heavy and put some straps on her shoes. Fake glasses aren't hard too bad, but some rigging in the back to keep them on will be helpful.

Isabeau I'm sorry but your sleeves have to be a little less gigantic, it will get in the way of the audience being able to read your gestures / get caught on stuff. They can still be long and loose though. Also, in real life the stripes on his pants being that wide could be an issue in terms of reading where he is on stage with the set / looking kind of goofy, so I might make them just a bit thinner.

Bonnie... I do not know how to make your weird pillow hat work in real life. For most game accurate version you'd have to make it completely from scratch. Something like a beret in terms of construction but... big. And probably held up internally with stuffing and wire. The alternative would probably be a big sunhat, and if you want to include Bonnie getting a new hat just slightly redo that scene to find something else that's similar.

Heck yeah its time for Loop! Now, we're definitely not doing a full star head, that wouldn't let the actor do any of that good emoting. But! I think a lower face mask could still work. You might have to hide the actor's mic under there to make sure they could be heard, but it's definitely possible. They would definitely need a custom wig for spikiness, plus a star-like head piece to top it off. Now the rest of it... I mean, you could go full body suit. I'd probably do that as the first choice, though maybe adding a wispy loin cloth or tie around the middle for modesty depending on your performer / venue. But! Different productions could get really creative with it, as long as the base still has them black and covered with stars and there's the star in their chest. Add in some specific design quirks that are only elsewhere found in Sif and The King's costumes, but just tiny little detail type things? Chef's kiss.

Speaking of the King! He unfortunately does need to be Very Big, but thankfully Broadway shows can pull that off! Something similar to the Wizard head in Wicked could work here, where only some parts of the set piece move (mechanically or via puppetry) and the actor is a voice over. The hair could be a mix of practice and projections. The tears that show up in the fight would probably also need to be projected. The hard thing would be getting it to disappear quickly enough. Maybe the last bit before the loop resets is always in front of the curtain? Could be cool. A less well funded production would probably have to either use mostly projections or re-work to use less moving parts.

Last up Euphrasie! Since she has a long dress getting her some extra height wouldn't be too hard, and she doesn't have to dance or anything so that helps. But! She does need to do the Act 4 finale dramatic kneel down, which is harder to work around. If we cast a tall actor and just use lifts in her shoes, it could work. She wouldn't be as super tall as she would be if we used hidden stilts, but I like the image of her cupping Sif's face, it goes all the way back to the comics, I gotta keep it.

What about y'all? How would you dress everyone? Any little details you'd want to see? And tricks to deal with the problems I thought of? Have fun!

[beartitled]

Found your art through the STP Reddit and now I have a new TSPUD artist to enjoy!!! Your style is gorgeous :)

Reddit 🤨❔

I don’t have reddit

*sounds of paws tapping on the keyboard*

Aha repost with no permission I see? 🔍🐻‍❄️👓

This ask actually send me on a mini research lmao

I didn’t expect to see like 4 posts on Reddit with ppl posting my comics/sending a screenshot from ?Pinterest? and asking who the author is

That made me chuckle :'D

To be clear, I don’t really mind reposts if a person credits me

Always appreciate ppl askin permission 👍

For the reference: Reblog - a button that looks like this 🔄, shares a post on your page while showing the original author; Repost - when you screenshot/save someone’s art and post it on your page (ideally with credit, but if you’re a meanie you will just post images with no word about og author); Credit - a reference to the author «this art was made by [@author] on [this social media]». Sometimes see ppl mixing up terms 🫡

(Most of the time creators dislike reposts, bc it often leads to art theft)

Since we’re on the topic, specifically what I do have a problem with:

- Don’t use my art for AI training or for NFTs

- Don’t profit off my art (no merch is allowed without my approval, if you want to use my art for commercial purposes, this must be discussed with me in advance)

- Don't pass off my work as your own (here does reposting my art without credit, creating blogs/accounts impersonating me and so on)

- Don’t use my personal projects (this applies to my ocs, any original IPs/content I create: picture books, comics, artbooks, megadrawings etc. At some point in the future I may register a legal copyright for them btw.)

I’m more flexible and forgiving with fandom art, but still would appreciate ppl communicating with me. Fandom comic dubs - are welcomed, just be sure to credit me (tag me and share the final dub too man, I’m always interested). Fandom comic translations - ask permission first please.

This list is a pretty standard for any artist really, if you’re doubting something - feel free to ask 👍

If you see somebody breaking those/potentially breaking those - feel free to notify me 👍

I considered creating “blog rules” or “list of boundaries”, but I’m not sure if it’ll work on my blog 🤔 My header is pretty oversaturated as it is - portfolio, tags, navigation and so on; if I add rules to the pile, something tells me ppl won’t even look at it 💥 + I didn’t have specific issues with anyone yet (as far as I’m aware), I might create a list if something happens, but stayin hopeful for now

There’s certain things that do make me very uncomfortable/are triggering to me. But again didn’t have any specific issues where it was a huge problem + those stuff are highly personal to me to just put publicly. For now, I prefer to resolve issues personally, there wasn’t anything I couldn’t handle at this point 🫡 Mayhaps in the future it may change, we’ll see

Also some might have noticed that I don’t use any watermarks/signatures on my art, again considered that, but never ended up implementing that 🐻‍❄️ Some part of me just likes lookin at pictures in full HD quality with no watermark 😭 (I have an art signature, but I mostly use it in my mega drawings or if someone specifically asked for a commission lmao)

Sorry for a wall of text on such a sweet ask 💥 Just saw an opportunity to talk and took it lmao

Thank you, I really appreciate your words ❤️💕

Made a doödle of the narrator bois for the old time sake :D

Surprisingly there is a bunch of reposts of my art, with is a bit wild to me (you guys actually like my comics? 🤨 what? 🤨)

Especially never imagined my voices x princesses would get so popular 💥

Oh I see you went under read-more

Come closer

Closer

Just a smol step more

I forgot to draw Smitten’s brows in this specific frame

Now you will never unsee it 😈😈😈

*tiny mischievous bear giggling*

[hyperions-light]

Making Fanfic Banners/Collages with Canva for FREE

Hello friends! Canva is an online software tool that mostly gets used for creating social media advertisements, but YOU can use it to make pretty, custom banners/collages/images for your fanfiction! For FREE!

WHY should you do this?

Fun

Custom art thing for your fic!

If you put pictures on your fic posts, sometimes you get more notes (sometimes)

The joy of creation!!!

I will walk you through it (with pictures) below the cut!

STEP ONE: GO TO CANVA, MAKE AN ACCOUNT

You can sign up with email, gmail, or FB. Gmail is the most convenient, but I think they do 2FA no matter what, so take that into account.

STEP TWO: DON'T PAY ANY MONEY & IGNORE AI

Every time you login or make stuff or do ANYTHING, Canva will try to get you to pay for Canva Pro. Don't do that. I've had access to the Pro and free versions and there's no reason to pay for anything on here. Also, they have an AI that's supposed to make things for you, but it sucks & isn't fun. Ignore it.

STEP 3: CHOOSE A TEMPLATE

Okay, so if you're a graphic designer... I mean I'm not sure why you're reading this tutorial, you can definitely make cooler stuff than I can! You should just use the 'create blank [post type]' button and go to town! But if you're not (like me) what I usually do is pick a type of template that Canva has (like blog banners, instagram posts, facebook covers, etc) and go browse their designs. My advice is not to look for something that you completely like, but something that has the right vibe-- you're going to be messing with all the individual aspects of the post anyway, so just pick based on aesthetics. Try to make sure that if you're going to put your fic title on your work that you pick/create a design where the text is clearly displayed/in an easily legible font.

NOTE: Some of the designs will have a little crown in the corner, and these designs are only available if you pay for premium. If they have a little $ on them, instead, that just means they have individual paid elements in them that you can get rid of, so feel free to use those, too!

STEP 4: CHOOSE YOUR PICTURES

Okay, so I like this screaming seagull one. I clicked on it, and selected 'customize template'. So now I want to get rid of the seagull, and replace him with my own stuff. You can do this a couple of ways: if you have screenshots from your game/show/other media, you can upload them by clicking on the little cloud icon on the left side that says "Uploads". If you DON'T have pictures, or you don't have ones you need, there are a couple options:

You can try to browse Canva's selection of pictures. It is in the "Elements" tab; you type in a search, and then select the "photos" filter from the little marquee below the search bar. My advice is to only use one word search terms, because Canva loves showing you all the photos that you can use if you pay for them, and if you use more words, they do that more often. There ARE free photos in there, but you have to scroll a bit.

If you don't want to deal with the search system or can't find what you're looking for, sites like Pixabay, Pexels, and Unsplash provide free photos that you can use without attribution, and do not require you to have an account to download. Please DO NOT just search using google/other engines and take things from there-- those photos are often not licensed for free use. The sites I linked will try to sell you pictures, but not as much as Canva, and there's usually a lot of free stuff to choose from. Download the pictures you want in a good resolution and upload them to Canva!

STEP 5: MESS AROUND WITH STUFF!

Okay, so now you can add your stuff and mess around with it!! Just click on the element (like the seagull) and delete it. Then go to your uploads and click + drag the image you want onto the canvas. You can use them as the background by dragging them to one of the corners, but you can also just put them on the canvas and mess around with them. In the left picture, you can see some of the options you have to resize and move around the image, so different elements appear on top of or behind it. If you click on the button that says 'edit' on the little bar menu that comes up when you select the image, you'll get the menu in the right picture, where you can mess with filters and colors, etc. It's not a completely comprehensive editing software, but you can do a lot of things! I encourage you to mess around and see what looks cool!

STEP SIX: ADD MORE STUFF, IF YOU WANT!

I love adding more stuff. You can change and add text by clicking on the textboxes that are already there, or you can use the "text" section on the left menu to add new blocks. They have some fun combinations and a lot of fonts! A thing I like to do is go in the elements tab and search for 'patterns'; you can add them on top of your image or elsewhere! The opacity setting is your best friend; you can overlay a bunch of stuff and create interesting/unique collages! You can also add basic shapes, frames, moving elements, and clipart, if you want!

STEP SEVEN (FINAL): DOWNLOAD YOUR THING!

When you're done, the 'share' menu in the upper right corner will let you download your image in a bunch of different formats (I'm pretty sure you could make a looping GIF for your fic here on Canva, too!) I usually do PNGs for the quality. I haven't had any issues uploading on Tumblr (or on Twitter, when I used it).

Anyway, I hope you'll try making these! I didn't show it, but there are a lot of different templates you can use, so if you want to make a collage instead, just look around! I think it's super fun to do for my fics! If you have any questions, you can bother me on my blog or in the replies section of this post, just please be polite! Thanks for reading!

[phacheltheprophetess]

Who Is Being Fake Around You And Sending You Negativity!?!??!?

Piles 1-3 Respectfully

Pile One: This is someone who hides their true feelings towards you very well. They could be younger than you or just a little bit more naive and influenced than you are. They are very protective over themselves and their own energy even though they’re the ones doing the energetic damage to others. This is someone who always seems to be busy and moving around a lot in their own life but still manages to be worried about yours. They’re very committed to their personal image and are very ambitious in personality.

Pile Two: This could be an elderly family member of yours or just someone who thinks they know better than you. This person has control issues and wants to have more influence over your life than they currently do. They may give a helping hand and say it’s in good faith but behind the scenes they’re wishing the worse for you. They want you to continue to be dependent on them for their own selfishness. You having boundaries is a direct threat to this person’s ego. This person feels entitled to your outcomes in life and wants to play a major role in your journey.

Pile Three: This is a romantic interest who acts like they’re passionate for you but they really just want to use you for a status gain. This person could even say they’re in love with you but the whole time they’re intimidated by your influence and potential for growth. They feel they can control you better by having proximity to you and giving you a love offer to make them look good. They see you as superficial arm candy. This person just wants to be able to say they were close to you in this way but they’re not acting genuinely. They want you for appearances sake.

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READINGS ARE ALWAYS TIMELESS WHEN YOU SEE IT IS WHEN YOU WERE MEANT TO SEE IT

Picked up on the collective general energy for this reading. Much like every other pick a pile it had no specific audience in mind. So if you felt drawn to this post it was simply meant for you to see 💕

I offer more personalized & concise messages always available via dms and/or email divineempress777@gmail.com

Visual readings on YouTube and Patreon if you would like to join our collective over there as well 🖤

Basic Readings Yes/No Questions

1 y/n question $10

2 y/n questions $15

3 y/n + 20 min reading $30

Advanced Generals

$55 (1hr) $40 (30min)

Love Readings $60 (1hr) $40 (30min)

No Subject Readings $25 (30min) $50 (1hr)

[wonderfulwitchwillow]

So like, when anyone thinks Ravenloft you probably think of Curse of Strahd. Or hell Curse of Strahd as a standalone thing. Like its one of the most popular modules of all time. But Curse of Strahd is an adaptation. One of many adaptations of 1st edition's I6: Ravenloft.

It got me wondering, how many people have actually taken time to look at this module who weren't playing in the 80s. I wasn't even alive in the 80s, and when this module came out my father was in high school playing D&D. So I doubt alot of people go back and really look at some of these older modules. And I happen to be a collector/lore nerd for all things Ravenloft. So what exactly is different? I have somewhat compiled my thoughts into a semi-cohesive analysis of I6 and Curse of Strahd.

Alot, and I do mean alot, of the module is similar to the opening and the castle in Curse of Strahd so this is your warning for spoilers for the module. I intend to talk about every major (and some minor) changes between 1st editions Ravenloft and 5th editions Curse of Strahd and give some of my commentary on what I have found, and some notes about random related facts. I am not going to discuss the overall narrative of I6 or Curse of Strahd since the only major narrative differences is in the Castle, which I do discuss in detail in that section of the post. I also know there are other adapations of I6 Ravenloft, 2nd edition has House of Ravenloft and 3rd edition has Expedition to Castle Ravenloft, but I am analyzing 1st edition and 5th edition's design choices; if I focused on all the editions, I would need more than just 1 super long post; plus Expedition to Castle Ravenloft really deserves its own post since its canon is separate from the greater ravenloft canon of second and third edition. Forgive me if my photos suck, I am using my phone and my shadows keep showing up. I have several things I want to say before I get started proper; I6 uses some derogatory words for the Vistani people, a ethnic group in Ravenloft not subtly based on the Romani people. These words may appear in some of my images but I am going to do my best to avoid showing them and the slurs will not appear in my text. I make mention of this because the Vistani are not refereed to as the Vistani in I6 but in all other versions of the module and the setting as a whole, they are called the Vistani. This is something that is an issue in second and third edition when it comes to the Ravenloft setting. It is at times, very racist. And I would not be doing justice to those who are harmed without mentioning the use of slurs or racial caricatures for a real ethnic group in this module. I am not going to talk more about them in the module since their presence outside of Madam Eva is small and racist; serving as minions of Strahd with a neutral evil alignment; which this alone is incredibly disgusting by making a real group of people evil. The harm started with this module and it is something that everyone who interacts with Ravenloft, regardless of canon, take caution and care with handling. I added IDs to each photo to help as well. I shall be discussing the module under the cut.

Part 0 - extra bits and forward

This post is incredibly long, I have tried to add mini-headers for each major subsection of this post because as I was working on it, it somewhat ballooned in scope and I want it to be fairly readable for those who are interested.

Onto the module discussion

Part 1 - Cover and maps

Forgive me for having a section just dedicated to the maps but as you would soon find out, its quite extensive in detail.

[ID]

A cardboard outer sleeve with the words Advanced Dungeons & Dragons Official Game Adventure Ravenloft. Below the title is a landscape image in a gothic horror art style.

The image is of the vampire count Strahd von Zarovich standing on his castle's walled balcony overlooking a misty cliff side. On the railing of the balcony sits two gargoyle statues. The castle itself is behind Strahd with a gateway being directly behind him. There are two castle spires, one in the foreground cut off by the artwork, one in the background with the spire's peak nearly visible. The castle's battlements are behind the right spire and go from the upper center of the artwork to the edge on the right. There is a lightning strike in the upper right corner along with bats flying out of the right spire into the night. Mist fills the lower right corner, obscuring the spire.

Below the artwork is a line of marketing text- "The master of Ravenloft is having guests for dinner - and you are invited. Ravenloft is an adventure for 6 to 8 players of levels 5 to 7." Below this is the TSR logo, which is an outline of the letters "T" "S" and "R". Below the logo is the copyright information "TSR, Inc. Products of your imagination. Advanced Dungeons & Dragons and Products of your imagination are trademarks of TSR. Inc."

[End ID]

I think I am not alone in saying but the first edition module covers are iconic. It is this generic fantasy style now but like that style is timeless to me. Its Strahd looking menacing over the chapel outlook's balcony. Its incredibly imposing. Its a different vibe and I don't think the other modules ever nail the vibe that Strahd is menacing on the cover art. He is waiting to strike or overlooking his lands. Though Curse of Strahd cover is probably my second favorite because he is less of a monster and more of a noble playing a game which is far closer to how he is played as a villian. Strahd always changing his appearance to fit in with what we consider "fantasy" for the era. I am fascinated with older editions of D&D so it makes sense why I would love this art so much. It is absolutely my taste and I am biased.

[ID]

The image contains two documents on a wooden table. The document on the left is the same document as the first image, cardboard outer sleeve On the top of the sleeve above this title is an orange header with "I6" on the left corner and "9075" on the right corner which wasn't visible in the first image.

The second document is a map folded in half showing only the right potion of the map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right edge of the map has a marble pillar going from the top to the bottom of the map, serving as a border. The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B Continuing we see two hexes with the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E and ending at a gate before the fold cuts off the map. Below the village is a river labeled D.

[End ID]

Moving to the actual contents for a moment - how many folks know that these sleeves/covers are not attached at all? I store my older books in comic book sleeves with backs. I don't know if this was a cost cutting measure or if comic book storage was the original intention since I could see the same communities overlapping in the 80s but like, if someone knows why, please let me know. I am so curious. I know they made comics that were released around the same time, made by DC in the 80s and 90s, so its not a stretch to say that it was expected to store modules like comic books.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The sleeve contains Map 2. Walls of Ravenloft, Map 5. Rooms of weeping. Map 6, Map 7, Map 8, Map 9 and Map 10 all of which are associated with the Spires of Ravenloft. In the bottom left corner is a front facing image of the entire castle with size guide displaying the full height of the castle including the spire. The total height of the castle is 360 ft. The break points shown along the way up to the total height are associated with floor sizes for each of the associated maps. The maps 5 through 10 are stacked on top of each other such that 10 is at the top and 5 is at the bottom of the sleeve.

Map 5 contains a hallway with a stairwell leading down labeled K46, a bedroom labeled K42, additional rooms labeled K41, K43, K44, K45, K36, and K37 along with several corridors labeled K39, K38, and K40. There are additional stairways labeled K21, K18, and K20. Map 5 is 40 feet from floor to ceiling.

Map 6 contains roof tops labeled K53, a chimney labeled K52, 4 interconnected rooms labeled K51, K50, K49 and K47, the same stairways from Map 5 labeled K18, K20 and the top of K21 which ends in room K47, and a new stairway labeled K48 which is connected to room K47. Map 6 is 40 feet from floor to ceiling.

Map 7 contains the Straiways K20, K18, and K48. Three rooms are attached to each other. K55 is attached to both K54 and K56. K54 is attached to the stairwell K48. Map 7 is 40 feet from floor to ceiling.

Map 8 has the stairway K48 end as it reaches a spire's battlements, labeled K57. There is a stone bridge linking to the stairway K20 labeled K58. K20 continues to ascend to map 9 but depected on Map 8 is a heart. K18 continues to climb and will reach its peak in map 10. Map 8 is 20 feet higher than map 7.

Map 9 starts 50 feet from map 8 with a spire's battlements as the ending for the stairs. This room is labeled K60.

Map 10 is the peak for the stairs K18. It is spire with a pointed roof. The room is labeled 59 while the enter of the stairs is now accessible, a fall of 380 feet, labeled K18a.

Returning to the left side of the sleeve, above the front facing image is Map 2. This map is the courtyard of the castle along with some ground floor elements. The front yard entrance is labeled K1, the side gates to the back of courtyard are labeled K2, the carriage house is labeled K4, the chapel is k5 and the outlook is K6. The gate leading into the courtyard is labeled J

Above map 2 is a full 3d side view of the castle. It has the spires indicated in Map 8, 9, and 10 along with the rooftops from map 7. The walls are also clearly visible along with the chapel. The stable house is also visible but the outlook is just a flat floor.

[End ID]

Back to the sleeve, if we open it, its a map of Castle Ravenloft! Its isometric and how in the hell do you keep this hidden from your players if you ever need to refer to it while in session? You probably have to grab it out and review it as you draw on some kind of graphing paper and attach it with tape together or something or just draw it out before the game starts and come to your weekly game night with it all prepared, like how we do it now. Its also wild that this sleeve isn't attached in anyway. If you lose either this outer sleeve or inner sleeve with even more maps, you just lose all the maps. I did not grow up in the 80s or 90s when this was the way you would play, 5th edition was my first edition, so again, was this ever a problem? I could see it being a problem since cardboard is not sturdy at all and I am terrified in tearing it accidently. The pricing was also around $7 to $9 in the 80s which would be about $22 to $28, which is cheaper than modules are now but no where near cheap enough to justify the cardboard and the paper quality.

Anyway, the castle itself is 360 feet tall which is massive for an actual castle. Though most of the height is the main spire with the Heart of Sorrow like we all know all love, referred to as the Guardian of Sorrow in I6. If you did the math with all the heights for maps shown, it wouldn't be 360 ft. That is because the rest of the maps are on the inner sleeve, which is two sided. The other side has the map of Barovia, which you have gotten a sneak peak at. Lets finish up on the outer sleeve before moving to the inner sleeve with more maps.

[ID]

An outer cardboard sleeve with the following words: "Advanced Dungeons & Dragons" "Official Game Adventure" "Ravenloft" "by Tracey and Laura Hickman"

"Under raging stormclouds, a lone figure stands silhouetted against the ancient walls of castle Ravenloft. Count Strahd von Zarovich stares down a sheer cliff at the village below. A cold, bitter wind spins dead leave about him, billowing his cape in the darkness."

"Lightning splits the clouds overhead, casting stark white light across him. Strahd turns to the sky, revealing the angular muscles of his face and hands. He has a look of power - and of madness. His once-handsome face is contorted by a tragedy darker than the night itself."

"Rumbling thunder pounds the castle spires. The wind's howling increases as Strahd turns his gaze back to the village. Far below, yet not beyond his keen eyesight, a part of adventurers has just entered his domain. Strahd's face forms a twisted smile as his dark plan unfolds. He knew they were coming, and he knows why they came. All according to his plan. He, the master of Ravenloft, will attend to them."

"Another lightning flash rips through the darkness, its thunder echoing through the castle's towers. But Strahd is gone. Only the howling of the wind - or perhaps a lone wolf - fills the midnight air. The master of Ravenloft is having guests for dinner. And you are invited. "

"1983 TSR, Inc. All Rights Reserved. Printed in U.S.A"

"ISBN 0-88038-942-X" "394-53465-4TSR0600" Below this text is a logo for TSR. Beneith the logo is additional text: "TSR, Inc. Products of your Imagination" On the left margin of the sleeve is a barcode within a white box with the number 0 at the start of the barcode and the number 3 at the end. Beneath the barcode but within the white box is the following string of numbers "46363 09075"

[End ID]

On the reverse of the outer sleeve, its a bunch of information on the module itself. I'll use this time to talk a bit about the creators - though I'll admit I don't know as much as I should. Tracey and Laura Hickman are iconic authors and module designers for the early years of D&D and especially Dragonlance. They also created the second edition version of I6, House of Strahd, Ravenloft 2 House on Griffin Hill (A story for another day) and so many more works. If you see their names on something, its going to be good from my experience. Its also why Dragonlance is so interconnect to Ravenloft to an extent or that's what I think atleast. Though Ravenloft is interconnected to every major setting TSR had at the time (Greyhawk, Forgotten Realms, Dragonlance, and Dark Sun all have characters and dread domains from their universes). Anyway back to the Hickmans. Their works are considered what made D&D jump from just dungeon crawling to more narrative experiences and Ravenloft absolutely shows this. This culminated when Tracy pushed forward on his work in creating Dragonlance, which is one of the biggest settings for D&D. I am sadly not super knowledgably about Dragonlance but we can really feel this shift in module design moving from I6 onward. I6 has a lot of notable steps in module design, the biggest being the maps!

[ID] An image of a map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right and left edge of the map has a marble pillar going from the top to the bottom of the map, serving as the maps' border.

The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with "Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North west of the village the color shifts to being blue green before shifting to purple and sections of redish purple representing mountain peaks. Continuing west, the map remains purple with reddish purple mount peaks scattered throughout.

North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B . Continuing we see two hexes we see the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with a corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E continuing to a branching path marked by the letter F.

The northern branch flows north before becoming a trail passing landmarks G1 and G before meeting back up with the main road at a bridge. The southern branch flows around woods and turns north before bending south east around a mountain. The road continues to follow this mountain until the road bends north to meet a bridge, labeled H. The road flows around another mountain before going north and reaching a fork in the road, indicated by the letter I. The fork heading north is blocked by a gate, indicated by the letter B. The road continuing north and west off of the map. The fork flowing east winds through the mountains until it reaches a drawbridge gate indicated by the letter J. The road ends at a castle indicated by the letter K. Following the entire road is a river that flows through the first bridge, meeting up with the trail with G and G1, passing under bridge H, then continuing west before the river is off the map

[End ID]

There is an inner sleeve with more maps and the map of Barovia itself which is very familiar to those who know the map from 5th edition. It looks like you could just place it out and play right on it using a token to represent the players because its gorgeous and heavily colorized. Each color meaning different elevations since Barovia is so mountainous and hilly. The map only goes up to Castle Ravenloft, that is because Barovia would be expanded when Ravenloft itself gets expaded in second edition with its AD&D box set, modules, and lorebooks. The whole story we know with "I, Strahd" would be years later. The village of Barovia looks much larger than we would assume but the general town's make up and people don't change much on the way to 5th edition. WotC did a good job on preserving the setup for Curse of Strahd.

On the Reverse of this inner sleeve we see more maps of Castle Ravenloft and again, its very similar to what we know in 5e.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The display contains the following maps: Map 4. Court of the Count, Map 3. Main Floor, Map 11. Larders of Ill Omen, and Map 12. Dungeon and Catacombs. Above Map 12 is a compass. In the bottom left of the display is the following text "1983 TSR, Inc. All Rights Reserved. 119-I-9075". Along the left of the maps is the height from floor to ceiling for each map. To the left of the maps is a key for the maps. This key is two columns and 21 rows. The first column uses flat 2d images; the second column represents the image from the first row in an isometric view, mirroring the maps.

The first row represents doors with a square and a thick line extending from the center of the left and right sides. The second row represents double doors with rectangle divided in half by a vertical line with a thick line extending from the center of the left and right sides. The third row represents secret and standard doors with a square missing one side, the letter S being placed inside this incomplete square, with a thick line extending from center of the left and right sides. The fourth row represents secret doors with the letter S with a thick line in the left and right side of the letter. The fifth row represents one way secret doors with the letter S with an arrow passing through the letter with a thick line on the top and bottom of the letter. The sixth row represents teleport traps using several small staggered inverted Vs. The seventh row represents trap doors in the floor using the letter T in a solid circle. The eight row represents trap doors in the ceiling with the letter T surrounded with a dashed circle. The ninth row represents windows with a white rectangle surrounded with a black rectangle while the isometric view shows a white trapezoid instead in the rectangle. The tenth row represents arrow slits using a black rectangle with a white triangle in the middle. The eleventh row represents bars and portcullises with sequential circles. The twelfth row represents brazier with a circle with an inner ring while the isometric view shows a brazier. The thirteenth row represents ladders with a ladder. The fourteenth row represents stairs with lines reducing in size making a shape of a triangle from left to right while the isometric depiction is a set of stairs. The fifteenth row represents spiral stairs with lines that reduce in size and curve inward while the isometric view is a spiral staircase. The sixteenth row represents a bed with a bed. The seventeenth row represents a chair and thrown with a top down cube with the isometric view is a chair. The eighteenth row represents railing with 4 black dots connected with a line, while the isometric view displays a railing. The nineteenth row represents a statue with a circle containing a black star. The twentieth row represents a curtain using a thick black squiggly line with 4 humps. Lastly, the twenty-first row represents water with repeating waves as rows while isometric view is a wavy layer on top of a white square with scattered dots. Below the key is the text: Scale: 1 Square = 10 feet.

Map 12, labeled Dungeon and Catacombs, is the largest of the maps in the image. K84 is the largest room in the map with several small one square rooms labeled 2 through 40. 1 represents a door connected to room K81. North and south of K84 are the rooms K85 and K86. Both of these rooms are mirrors of each other. East of K84 is a hallway labeled K87 with a room at the end labeled K88. Opposite of this hallway attached to K84 on the west is a stairwell labeled K18a and a stairway labeled K18. Continuing from K81 there is a trap on the floor that leads into K82, a slide that leads into K74. Across the trap is the hallway labeled K80. A staircase is attached K80 leading to the room K78. K78 has a brazier along with two statues. There are three staircases leading out of K78: the left most stairwell is K72 with the associated text "Up 70 feet to Map 11, K72", the center is K80, and the right stairwell is K83. The door out of K78 leads to room K77 which is divided by a Curtain with two chairs overlooking another room, labeled K76. K76 is flooded with water and to east is a hallway Labeled K73. K73 is also flooded which has two rooms branching north labeled K74 and south labeled K75. Both K74 and K75 are prisons with cells labeled A through H and are flooded. Attached at the end of the K73 is a staircase labeled K21. The height from floor to ceiling of map 12 is 50 ft

Map 11, labeled Larders of Ill Omen, has two stairwells that are not attached to the main map, both K18 and K831. K18A is a empty cylinder that the stairs of K18 wrap around. K18 has the following associated text "Up 30 feet to rubble blockage then 10 feet past rubble to map 3, K18". Starting in the top left corner of the map, the stairway K79 leads up to a secret door attached to K72. K72 leads into a the K70. K70 has two attached rooms, K71 to the east and K67 to the south. K71 features a stairway K20a with the following associated text: "Up 40 Feet to Map 3". K67 is a room with a double door leading to K62 to the east and K68 to the south. K68 is a hallway with the room K69 attached to the west and the stairway K64 to the south with the following associated text " Up 40 feet to map 3". K69 has 10 sections divided by walls, 5 on the north and south walls of the rooms. Room K62 has 4 rooms attached to the hallway, K66 to the north, K65 to the north but east of K66, a unnumbered room with the staircase K21, and K63 to the east behind bars. K62 has a stairway to the north, east of K65 with the following associated text "up 40 feet to map 3". In the room containing K21 there is a trapdoor between the staircase and the door to K62. The staircase K21 has the following associated text "Up 40 feet to Map 3". The height from floor to ceiling of map 11 is 40 ft.

Map 3, labeled Main Floor, contains a entry hall out to the courtyard of the castle, labeled K7. Next to K7, unattached to any of the rooms in Map 3, is the staircase K83. K7 is attached to one room, K8. K8 is attached three rooms, K14 to the east, K9 to the south, and K19 by a staircase to the north with the following text "Up 30 feet". K19 leads to another staircase with the text "Up 20 feet to map 4". K9 is connected to the staircase K21 to the east and the room K10 to the west. K21 leads up to Map 4. In the wall north of K21 is a hole labeled K31a. K10 is a large room with a secret door the the east, leading to K11. K11 leads to the a hallway, K13. K13 is attached to K11 with a northern hall and attached to the room K12 to the west. At the end of hall k13 is the staircase K64 with the following text "Up 50 feet Map 4, Down 40 feet to Map 11". K14 is a hall that leads into K15. K15 is a large room with two passages, K16 to the northwest and K17 to the southwest, which are attached to two separate stairways. K16 is attached to the stairwell K29. K17 is attached to the stairway K18 and the hollow cylinder K18a with the following text: "Down 10 feet to new wall down pas wall 80 feet to map 12". Unattached to the rest of the map and north of K14 is the room K20. K20 contains the stairway K20a and an unlabeled stairway with the associated text "Up 50 feet". A hallway labeled K13 leads into K20. At the west end of K13 is a round room labeled K12. The south end of K12 leads into a small room labeled K22. Connected to the outside and unconnected to the rest of map, east of K20, is the room K23. K23 has a staircase leading down with the associated text "Down 40 feet to map 11". The room to the north of K23 is K24. K24 has a stairway that leads up with the associated words "Up 30 feet to map 4". The height from floor to ceiling of map 3 is 50 ft.

Map 4, labeled Court of the Count, contains a throne room. This throne room, labeled K25, is located in the western half of the map and is connected to two stairwells which lead back to K19. There is a secret door in front of the throne on the south wall of K25 which leads into K13. The eastern end of K13 is a stairwell labeled K64 with the following associated text "Up 40 feet down 50 feet". To the north of K13 is the room K12. To east of K13 is the room K22. K25 has two additional rooms attached, K26 attached with a set of double doors, and K30, attached with a single door. K30 has a set of stairs labeled K21 with the following associated text "Up 40 feet down 50 feet". K26 is a small hallway with a secret door to the north that connects to the room K33 and a double door to the east that connects to K27. K33 connects to room K32 to the west and hallway K13 to the north with a secret door. Similar to the other hallway labeled as K13, to leads to two rooms and a stairwell. The room K12 is in the same location as the previous K12. K22 is to the south of K13. To the west of K13 is a large stairwell labeled K20. The stairwell K20 leads up and down and has a secret door that leads to a ladder with the following text: "Ladder up 20 feet from K34 to K20". The ladder leads to an additional secret door that that leads into the room K34. K34 has a staircase leading down off the map. K27 is a long hallway that leads to another set of double doors connected to K28. A secret door is in the middle of the southern wall connecting K27 to K31. K31 has a hole next to the small room labeled K31a. K28 has two chairs and a outcropping that overlooks the main floor over K15 that is 50 feet in the air. K28 has a stairwell that leads down to Map 3 labeled K29. To the south of K27, to the west of K28 and to the east of K31 is the stairwell K18 and the cylinder K18a. The height from floor to ceiling of map 4 is 40 ft.

[End ID]

I want to say before moving on to the module, that these maps are immaculate. Like now we are spoiled with battlemaps in modules and how they are designed but back in the 80s, they had black and white paper that feels like its a elementary workbook. Its fairly cheap feeling. Where I could describe modern books as more textbook in quality. So imagine then you had these black and white books to use for making maps. These sleeves are so much higher quality and the color is beautiful if you ask me. I can see how a dm could run this dungeon flawlessly. Even know the castle is massive and yet it always goes off without any issues. Its a testament to good dungeon design and displaying information to the dm and players. Its one of those tales that these maps are what made I6 Ravenloft popular; again I don't know any old school ttrpg fans who played this when it was new but I could absolutely see it. During my researching, this is one of the biggest factors in what made Ravenloft popular. That and of course our beloved Strahd von Zarovich.

Now onto the actual module. I am not going to have a photo of each section of the module since there is alot but I will be showing off all the images in the module plus anything of note. The layout of the module itself makes sense from a ease of access but compaired to modern module layouts, it a bit jumpy. First is Strahd's stat block and his personality. It makes sense to put this first since he is the villain and you will need to have ready access to it. Second is the fortune reading, called "Fortunes of Ravenloft". Then onto the actual setup for the module following the similar steps to what we have come to expect from Curse of Strahd: The lands of Barovia, Barovia Village, Tser pool encampment, and Castle Ravenloft. Then statblocks for the rest of the monsters. I am not going to go over the narrative of I6 since there isn't any major differences to Curse of Strahd! I6 is almost beat for beat the same as Curse of Strahd as long as we include only the portions in I6. This makes sense since Curse of Strahd is a remake after all. Now, onto Strahd's statblock!

Part 2: Strahd von Zarovich

[ID]

The image is a black and white page full of text with an image of Strahd von Zarovich in the bottom right corner. The documents text is positioned into two columns. The top of the document has a repeating border that is a shape that is a hollow rounded triangle with two curved arches on the left and right of the shape that meet in the middle under the bottom of the triangle. On the left and right of the triangle is abstract black shapes that meet up at a black thick line the top near of the page. Around these triangles are broken lines that outline the shape. A thin black line creates an outline from the bottom of the triangles around the document.

The image of Strahd von Zarovich in the bottom right corner is of a cloaked figure with a cowl. His hair is pulled back with a strong widow's peak. His eyes are white and luminous. His knows and ears are barely visible, with the rest of his face hidden in the darkness. His right arm appears to be extended but is hidden by his cloak. Behind Strahd is a full moon with three bats casting a shadow on the moon. In the bottom right of the image is the artist mark of Clyde Caldwel, A c like shape that flow into an n like shape with a dot beneath. At the center of the page is the page number, 3

The text of the document starting with the left column is as follows: "Count Strahd Von Zarovich, Vampire.

The entire adventure centers around the vampire. Always keep in mind the motives of the vampire, how he moves about, and what his cunning plot is. You must play Strahd in the same way players play their characters. Study this NPC as carefully as the players study their characters.

Count Strahd Von Zarovich (The First Vampyr) Frequency: Unique Number Appearing: 1 Armor Class: -1 Move: 12"/18" Hit Dice: 10 (55 hit points) % In Lair: 90% Treasure Type F Damage/Attack: 5-10 (1d6+4) Special Attacks: Energy Drain Special Defenses: +1 or better weapon to hit Magical Resistance: See below Intelligence: Genius Alighnment: CE Size: M Psionic Ability: Nil Attack/Defense Modes: Nil

Although Strahd can be encountered in many places, he is always encountered in the plaace indicated by your Fortunes of Ravenloft results (see p.4) unless he has been forced to his tomb. Strahd is slightly above-average vampire. He has the normal 18/76 strength and his blows drain 2 life levels from his opponents. Strahd has the usual vampire abilities. He can only be hit by magical weapons and can regenerate 3 hit points per round He can assume gaseous from at will or shape change into a large bat. He can charm person at will by gazing into a character's eyes, causing the character to make a saving throw vs. spells with a penalty of -2. Strahd is also a 10th level magic user. He learned his magic from studies during his life from subsequent studies over the centuries. His available spells are:

First level: comprehend languages, hold portal, protection from good, sleep. Second level: invisibility, locate objects, mirror image, ESP. Third level: fireball, gust of wind, suggestion Forth level: polymorph other, polymorph self Fifth level: animate dead, distance distortion"

The following text is the right column of the document: "Strahd has a variety of spies and servants. They report to him four times each day (at dawn, noon, dusk, and midnight). There is a 60% chance that Strahd knows the PC's location at these times. If Strahd knows their location, he attacks the OCs -wherever they are -within two hours. Strahd chooses the time and method of his attacks carefully.

Strahd can attack in each of the following ways once.

Strahd attacks a single PC for 5 melee rounds then leaves.

Strahd calls 10-15 Strahd zombies to attack the party. All of the zombies must attack at the same time in the same place.

Strahd calls 3-12 worg wolves to attack the party. All of the wolves must attack at the same time in the same place.

When playing Strahd, above all, keep these three things in mind.

Strahd chooses when he attacks. Strahd is supposed to be a genius, play him as one. Whenever he is aware of the PCs poisitions, he is allowed to make an attack how and where he wants. His attacks must be timed to be most advantageous to him. To do that, Strahd must move around during the adventure. However, he can always be found in the place determined in Fortunes of Ravenloft. It is your responsibility to see that the vampire uses his abilities to his greatest advantage.

Strahd knows when to withdraw. He knows when he is over his head. If he is losing a battle he becomes gaseous, polymorphs into a wolf or bat, and/or summons other creatures to guard his retreat.

Strahd's attacks depend upon his goals. There is a reason why Strahd lured the PCs into his little kingdom. This reason is determined in Fortunes of Ravenloft. Strahd's plans for achieving his goals are listed with his goals."

[End ID]

I don't know 1st edition but if I'm not mistaken (and I could be since my knowledge is based on the 1st/2nd edition dos games), is a roll under system unlike 5e's DC system. Its cool seeing spells remain at spell levels I know like invisibility being second level and fireball being obviously third level; though I feel its common knowledge that fireball was third level in 1st edition. If someone who is far more versed in 1st edition could tell me what his stat block actually means, I would appreciate it immensely.

Something awesome is that Strahd has different goals determined by the module's Fortunes of Ravenloft, something similar to the fortune reading in 5th edition. Strahd is also cunning and plays keepaway with the players, running away when he is losing and ambushing the players at any time. He even has a randomized set encounter location where the Fortunes of Ravenloft says, again just like 5e. The whole intent behind his creation and play style is that he is supposed to be this menacing calculating monster of a man, not a generic monster. This design has lasted to this day which is impressive. I may be spreading more internet nonsense from saying but the idea of the whole module to my knowledge cam from a playtest of a game with players fighting a vampire in a cave and it didn't make narrative sense.

What is also fascinating is his title, The First Vampyr. Was the intent was to set up the villain as well the first vampire in universe? I don't know when TSR started focusing on building out their universes, like Forgotten Realms, but this feels like this is something that would be kept in mind for the future. At the same time, this could just be throwaway flavor text as Strahd is referred to as a "slightly above average vampire". Which feels like they are downplaying his strength as a monster. But he also is a fairly formidable caster though I don't have the context of how formidable, I am just extrapolating using my experience with 5th edition; just 5th level spells feels like alot for any party. He is also immune to any damage not dealt by magical weapons, which would be an issue if the module didn't give the players magical weapons. But it does. We know it has the sunsword but as we will see, the module has other magical weapons as well, making this trait something the players could handle once they are in the castle.

Lastly, Strahd feels like he teleports around quite a bit given what the module is suggesting, that he should be reappearing and fighting the players before the castle. Curse of Strahd does solve this by giving him a teleportation room, a difference I highlight later, here he just has to run around using his powers. I think its fine to handwave this as Strahd can just move quickly due to his ability to polymorph since its so core to this module that he can just show up and scare the players.

Next, the Fortunes of Ravenloft

Part 3: The Fortunes of Ravenloft

[ID] The image is a black and white page full of text with three images of Cards on the top of the page, above the text "Fortunes of Ravenloft", with the first card partially behind the "R" in Ravenloft. The page itself is grey and splits text into two columns that flow similar to the previous document image. At the center of the bottom of the page is the number 4, indicating the page number. The three cards are similar with white playing card like border and an embroidery pattern filling an inner border with text in the center. At the top left of the page is the head of a gargoyle, with a line drawn down from the neck to the bottom of the page, passing behind the left playing card. Under the left most card's left side grouped together is the letter J and a heart written into the book in pen. Further down in pen are the words "Jack spades" crossed out. In text between the two handwritten texts is the text "Deal the top five cards face down". Below the right side of the left most card in pencil are the words "king of spades". Under the center card is the letter K and a diamond in pen. Under the right most card is the letter K and a heart in pen. The text outside of the cards is the following, starting from the left column and omitting slurs: "Fortunes of Ravenloft is an imitation ancient [slur] card reading. It does not resemble any real or mystical fortune telling process. Fortunes of Ravenloft determines Strahd's goals and the placement of important treasures. This card reading can add a great deal of flavor to your game and makes Ravenloft different when you play it again. You must run this card reading before playing the module. If, during the course of the adventure, the PCs have their fortunes read at the [slur] camp, run this card reading again, out loud. Substitute the new results for the old ones. Be sure to write down the results of your card reading, so you can have them when you need them. Find a regular 52-card deck of playing cards. Remove all 2, 4, 6, 8, 9, and joker cards from the deck. Now you have a set of four suits with eight cards in each suit. Shuffle the deck. If you don't have a regular deck of cards, you can get the same results by rolling 1d8 to determine the type of card and 1d4 to determine its suit. Roll again if you get the same card in any suit twice." The following text is a table that starts in the left column and continues on to the right. Around the bottom portion of the text in each row is an enclosed box. "Table 1. Fortunes of Ravenloft Places Card Place 3 Study (K37) It is in a place of tranquility, a harbor for the mighty and powerful. It is in a place of wisdom, warmth, and despair. Great secrets are there. The object is on the mantlepiece just under the portait of the women. If Strahd is there, he is sitting back in the overstuffed chair, staring into the blazing fire. 5 Treasure Room (K41) You should seek for a carefully hidden place of great worldly wealth. I see a blazing fire protecting the place. The object is set prominently atop the other treasures in the room. If Strahd is there, he is counting his ill-gotten gains. 7 Chapel of Ravenloft (K15) You may find this amid the ruins of a place of supplication. The object is on the altar, brightly illuminated by a shaft of light from the ceiling. If Strahd is there, he is standing in the center of the room-a dark shape in the vast hall. 10 High Tower Room (K60) This is a place of dizzying heights that all loathe to travel. The road winds ever upward and the rocks themselves live here! The object is in a locked iron chest. If Strahd is there he is at the window, looking over his lands. Jack Crypt of Sergei von Zarovich (K85) This lies with a fallen prince of old. The brother of dark is light and he rests in this place. The object is lying across Sergei's chest. If Strahd is there, he is lying across the marble slab, weeping. Queen Crypt of Ravenovia (K88) This is in the mother's place The object is lying on top of Ravenovia's coffin. If Strahd is there, he is in a frenzy of rage and despair"

The text in the left most card has a section in a box similar to the table. The box surrounds the middle portion of the card's text. The following is the text of the left most card: "First, determine where the Holy Symbol is (see Treasures and Tomes on Page 30 for a description of the holy symbol). Pick up the first card and read the following boxed text. This card is a symbol of great power. It tells of a powerful force for good and protection against the forces of darkness. To determine where the holy symbol is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2.

The center card and right most cards' text is similarly laid out as the left most card. The center card's text follows: "Second, determine where the Tome of Strahd is (see Treasures and Tomes on p.31 for a description of the Tome of Strahd). Pick up the second card and read the following boxed text. This card tells of history. Knowledge of the ancient may help you understand a foe. To determine where the Tome is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of right most card follows: "Third, determine where Strahd von Zarovich himself can always be found. Pick up the third card and read the following boxed text This is the object of your search! Ah! I see darkness and evil behind this card! It is a powerful man whose enemy is light and whose powers are beyond mortality! To determine where Strahd can always be found, find this card in Table 1. to find the 'to hit' and armmor class modifiers to use in that place, find this card in Table 2." [End ID]

[ID] The image is a black and white document similar to the previous image. The background is the same color along with the layout of text. The page number is 5. Two cards are above the left column of text. On the right edge of the document is a face of a gargoyle mirroring the previous document. Under the left most card is two sets of text: "Jack" and a diamond are written in pencil and the number 5 and a club written in pen. Under the right most card is two sets of text similar to the left card. The text is the same, just written in pencil and pen: the number 3 and a heart. Under the The left column continues Table 1. The following is the remaining text:

"King Kings Audience Hall (K25) A king's throne is the place to find this The object is lying across the dais behind the throne. If Strahd is there, he is sitting on the throne. Ace Crypt of Strahd (K86) This is a very bad sign. This is in the very heart of darkness: his home, his source. It is his center and his life. It is the one place to which he must return. The object is in a corner of the room. If Strahd is here, he is within his coffin, ready to attack at the first sign of someone opening the lid" Continuing after Table 1 is Table 2. Table 2 is similar to Table 1; the only difference is the location of the box containing text. The box is below a section of text and is the second half of each row. Table 2 contains images of each card suit vertically aligned in the left column of the table. The suites descend in the following order: Heart, Diamond, Clubs, Spades. The suits are solid and are black. The following is the text of the table, including a text replacement of the suit to indicate its location: "Table 2. Fortunes of Ravenloft: Modifiers Suit 'To Hit and Armor Class Modifiers'

Heart The PCs gain a +1 bonus to hit and a -1 bonus to their AC.

There is a very good influence there. If you are there, the power of good will aid you.

Diamond The PCs gain a +1 bonus to hit, but suffer a +1 penalty to their AC.

The diamond blesses your skill there, but bodes poorly for your protection.

Clubs The PCs suffer a -1 penalty to hit, but gain a -1 bonus to their AC

The club sustains your strength here, but holds you from your victory, taking more time than it otherwise would.

Spades The PCs suffer a -1 penalty and a +1 penalty to their AC.

The spade is a dark shadows of evil cast over that place. You fight under its influence here." Table 3 is similar to Table 1, sharing the location of the box containing text in the table. Table 3 is the entirety of the right column. The following is the text of Table 3, ommiting slurs: "Table 3. Fortunes of Ravenloft: Strahd's Goals Card Strahd's Goal

3 or 5 Strahd seeks a new identity.

Not yet, but soon, one who appears to be your friend will become your enemy.

Strahd will try to be alone with a charmed PC. When he is alone with a charmed PC, Strahd casts a polymorph other spell on the PC, turning the PC into a vampire. The spell operates as detailed in the AD&D Players Handbook with the following clarifications. The PC takes the form of a vampire and radiates a magical aura, regardless of whether the PC survives a system shock check or not. A PC that survives a system shock check has all of the abilities of a vampire as detailed in the AD&D Monster Manual, regardless if whether that PC passes a mental check or not. Undead cannot drain levels from undead. Thus, if a polymorphed PC vampire retains his own mind, he and Strahd can fight, but neither can drain levels from the other. They can both, however, drain levels from non-undead. After turning the PC into a vampire, Strahd casts a polymorph self and turns into the likeness of the PC. Strahd puts the new vampire PC into his own coffin and attempts to join the party, masquerading as the PC. Strahd will try to persuade the party that he found a away out of Barovia. Strahd can, after all, open the gates. Strahd wants to move to another country using his new identity. The [slur] will carry dirt from his crypt to his new home.

7 or 10 Strahd wants to make a magical sphere of darkness.

This card tells of a tool of evil. Darkness surrounds and protects this tool, giving comfort to the black hearts and protection from good.

Strahd is trying to assemble a magical item that casts a continuous sphere of darkness. Such an item would greatly extend the range of his travels. Over the centuries he gather the pieces of the sphere one by one, until he is missing only one piece, a black opal. Strahd mistakenly believes that one of the PCs has black opal. Strahd mistakenly believes that one of the PCs has black opal stone. Strahd will use his natural charm person abilities to charm lone PCs. Stahd will send those Charmed Pcs back to the party asking, 'Do you have the black opal?' When Strahd discovers that none of the PCs have a back opal, he will attempt to destroy them.

Jack or Queen Strahd wants to win the love of Ireena Kolyana

The darkness lovesa light and desires it Great subtle plans are in motion about you; plans that the dead may find warmth from the living.

Strahd will attempt to charm all of the PCs, and make them attack Ireena. When they attack, Strahd will swoop down and save her from the PCs. Strahd hopes that the rescue will turn Ireena's heart to him. He wants Ireena to love him willingly rather than by force.

King or Ace Strahd wants the Sunsword.

Here is a high and noble card. One of you carries a weapon that is stronger than any other against the evil in this land. Only one part is missing from this weapon. That part is found in the evil one's lair.

See Treasures and Tomes on p.31 for details about the sunsword. Strahd wants to destroy the sunsword. He believes (correctly) that one of the PCs (a random fighter) has has been unknowingly carrying the sunsword for some time. If the sunsword hilt is found and reunited with the blade, Strahd could be in real trouble."

The text of the left card is the following:

"Fourth, determine where the sunsword hilt is (see Treasures and Tomes on p.31 for a description of the sunsword). Pick up the forth card and read the following boxed text.

This card is good for you. It is a card of power and strength , the victor's card. It tells of a weapon of light, a weapon of vengeance.

To determine where the sunsword is, find this card in table 1. To determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of the right card is the following:

"Last, determine Strahd's goal. Pick up the fifth, and last, card, and read the following boxed text.

And here is the root card. Out of darkness and chaos, this card find the reason and foundation for darkness and chaos. This card shows the purpose of all things. It is the key to life and death and else beyond.

To determine Strahd's goal, find this card on Table 3." [End ID]

My copy is used so it has some writing on it from past fortunes but I think its cute, since the fortunes are still done with playing cards, with the only difference being the reading in Curse of Strahd is far more complex. The objects are the exact same, the Sunsword, the Holy Symbol, and the Tome of Strahd. Similarly, the locations you find these items can also instead be the locations you fight Strahd: the study , his treasure room, the chapel, the top of the high tower, Sergei's crypt, Strahd's crypt, the audience hall with his throne, and Ravenovia's crypt (Strahd's Mother). Taking a step back here to talk about this decision as a whole, I have always loved the randomness. The fact that everyone's experience is always different and unique feels great. It leads to a different narrative expierence each time and gives us a reason to replay the module. I have played Curse of Strahd as a player on three separate occasions with three separate DMs and each experience as a player was unique. Other than each character having that DM's twist or personality, the items were never in the same place so my groups always prioritized different areas. I have also ran my own game of Curse of Strahd and I have felt similar as a DM. I prioritized different characters or locations to add depth to the world. This randomization leads to unique situations that could never be replicated. I think it is one of the most novel ideas that I6 presents and I am so glad all the other adaptations have kept this idea while expanding upon the whole experience.

Jumping back to I6's fortunes, what I found really interesting is that the cards drawn add modifiers to your parties AC and to hit modifier. It feels very odd to me, but also that is because this is something that we do not have an equivalent to in Curse of Strahd. The closest is the ally we get but even then, that is more impactful from a narrative lens than the modifiers. The modifiers feel like a twist that deepens or add to the feeling of struggling against the darkness. It is very mechanical and calls back to more of the dungeon diving elements of early D&D. I don't think that modifiers change the game enough to feel sad that they have disappeared. Then again, we do get something similar with Argyvost's skull in Curse of Strahd so atleast we get some kind of spiritual successor to the modifiers in the reading.

Now I mentioned above Strahd has a goal. He does, its why he grabs the players. In 5th edition, its to toy with them and have amusement more or less and then later he wants them for Ireena. In here he has 4 reasons potentially and I want to talk about each of them. One, to grab Ireena. How he plans this is wild. He will charm the players and make them attack Ireena and he will swoop in and save her since he wants Ireena to love him willingly rather than by force. This is absolutely wild to me that Strahd could play the valiant knight for Ireena. This feels the most vanilla but this is his goal moving forward into Curse of Strahd. I think its smart to make this the "core" goal since he does attack Ireena in the opening of the module and Tatyana is core to Strahd's descent into darkness. Given all the additional material that has come out focused on Strahd, Curse of Strahd made the correct call to make this his focus. I do like that he has other goals as well in Curse of Strahd, but it is a bit of a shame that he doesn't have any of the other goals he has in I6.

The second goal is to steal a player character's identity. He will charm someone, use a spell to turn them into a vampire, shove them in his coffin and then masquerade as the player character using magic. Absolutely amazing. I love this and its also so evil. Like more than most DMs would go evil. "How do you do my fellow player characters". Sadly, this also feels like its retconned with newer Ravenloft lore since Strahd can't actually escape Ravenloft and this ending if he succeeds in stealing someone's identity and convincing the party that he found a way out everyone just leaves Ravenloft. The player who gets turned into a vampire can make checks to be able to fight back and you get this vampire duel which is so cool. Vampires in older versions of D&D can drain levels from players by the way, so the book specifies undead cant drain other undead's levels. Like the set up is amazing, the idea is wild, but there is no way for this to work if we are conforming to the rules of Ravenloft. We kind of get a successor to this goal in Curse of Strahd with Strahd's desire for a consort or successor since he wants to to be able to leave; but the book calls out that Strahd will never find any of the player characters worthy. Again a DM can change this and many have so I feel the spirit of this goal lives on; but we don't really see Strahd becoming a party member only to betray the group. That would be a fun twist however.

The third goal is the only goal where Strahd fails whether the players live or die - he wants to make a magical sphere of darkness. Strahd thinks the players have a black opal stone, which is the last piece he needs to make a big old sphere of darkness to make the world dark and stuff so he can travel more at night. Strahd will charm one player who is alone and have them ask the rest of the players if they have this black opal stone. He is certain they have the stone so when its revealed they don't, he will try to kill the players. Curse of Strahd places Barovia under the magical darkness that he is attempting to create here in this goal, which I think is a perfect way of honoring this goal

The last goal is Strahd wants to destroy the sunsword. So the module recommends the players have a cleric and a fighter as a requirement since the holy symbol is for a cleric and the sunsword is for a fighter. I mention this because Strahd just knows who has the sunsword and if this is rolled, the sword is just magically on this person and not where the fortune says. So Strahd wants to kill them and take the sword and destroy it. This is very boring to me. Like it should be a given rather than an explicit goal. If Strahd has gone out of his way to destory the sword, he should just want to do this regardless if this is a goal. This is the direction Curse of Strahd goes and I think it makes sense. 5th edition focuses more on narrative and less on dungeon crawling so this change is just natural. We even get more lore for the sunsword in 5th edition, it being a sword belonging to Sergei and being sentient. I am not sad to see this goal just disappear and become a background element. It feels like a cop-out to get Strahd to fight the party early. If he knows they have the sword and he knows where they are, why not just kill them? I mean he does like to toy with his prey but if this sword is the biggest threat to his existence, I would expect him to hunt the players down once they near the castle.

Overall, I think the goal's Strahd has in I6 are a mixed bag; some are really novel and some are fairly boring or straightforward. That is my own opinion and I am very curious on how everyone else feels.

Part 4: The lands of Barovia, Barovia Village, and Tser Pool Encampment

I am lumping all of the pre-castle encounters into one section since they are more or less similar to what we know and love from Curse of Strahd.

[ID]

The image is that of a black and white document, with a layout similar to the statblock of Strahd von Zarovich, including the borders of the page. The page number is 6. The following is the text of the left column omitting slurs:

"Lands of Barovia

A perpetual rolling blackness of thunderclouds casts a gray pall over the land. The darker silhouette of Castle Ravenloft looks over the valley from its 1,000 foot pillar of rock.

Castle Ravenloft dominates the small village of Barovia. The castle stads high atop a natural pillar of rock against the cliffs to the north of the village. The dark Svalich woods surround the village and cliffs. Use Map 1 to see the relative locations of the town and Castle Ravenloft.

The road to the village and lands of Barovia goes through ancient iron gates, controlled by the will of Count Strahd. There are only two gates, one east the of village and one west of the castle crossroads up the mountain. The gates open when the PCs arrive but close after they enter Barovia. The gates will not open for the PCs again until Strahd is destroyed.

There is a deathly stillness in the dark Barovian woods. Yet the woods are patrolled constantly by the wolves and serving beasts of Count Strahd.

No one has left Barovia for centuries. This is because of the trapping fog that exists everywhere in Barovia . Once it is breathed, it infuses itself around a character's vital organs as a neutralized poison. the fog does not taste or smell any different than normal fog. It does not harm characters as long as they continue to breathe the air in Barovia. However, when they lave Barovia, the poison becomes active. Characters must save vs. poison or start to choke. Unless choking characters reenter Barovia within 24 hours, they die. The choking stops as soon as they breathe the fog again.

The [slur] were given a potion by Strahd that cancels the effects of the fog. this potion is jealously guarded by Madam Eva, who buried it in a secret place. It is impossible for the PCs to discover the potion. The fog is magically produced by Strahd and disappears entirely upon his destruction.

The poor villagers of Barovia have been terroized for centuries by 'the devil' Strahd. Only the town and the few survivors of the second ruling house of Barovia have the will to offer more than just personal resistance to Strahd. No villager has left Barovia for centuries. Those who tried never returned, dying from the vile snapping teeth of the Barovian wolves and the choking deadly fog.

Every 3 turns, check for na random enoutner. When the PCs are not in castle Ravenloft, during daytime, use Table 4 at the right, during night time, use Table 5 at the right. When the PCs are in Castle Ravenloft, use Table 6 on p.12.

Each night the PCs stay anywhere other than the castle (Area K), Strahd attacks with his wolves and bats. His attacks are intended more to frighten the PCs than to damage them. Strahd mjust toys with them. After 5 melee rounds, Strahd and his creatures withdraw.

If the PCs are indoors, every turn strahd attacks, wolves try to break through a window or door. A roll of 1 or 2 on 1d6 means that a wolf breaks through. Once a wolf gets in, the remainder of the wolves and bats come in. The wolves and Strahd never attack Ireena Kolyana. After 5 melee wounds, all of the creatures flee into the night, leaving only Strahds hollow laughter in the distance.

4-16 (3d6) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

The bats fly into the room, getting into the way of spell casting. Characters must make dexterity checks to cast spells with material components." Some of the text in the right column is cut off. The following is the visible text of the right column including table 4 and table 5 with slurs ommited:

"Strahd may knock at the door, but he cannot enter the building until someone invites him in. Strahd tries to charm characters into inviting him in.

Table 4. Barovia Daytime Random Encounters (Sunup to Sundown)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d6 and us the encounter below with the resulting number.

Roll Encounter

1 2-8 (2d4) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

2 1-10 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

3 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

4 1-4 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

5 1-4 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

6 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

Table 5. Barovia Nighttime Random Encounters (Sundown to Dawn)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d12 and us the encounter below with the resulting number.

1-2 1-10 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

3 2-10 (2d10) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

4-5 3-12 (3d4) zombies: AC 8; MV 6"; HD 2; #AT 1; Dmg 1-; AL N

6-7 10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

8 1 ghost: AC 0/8 if corporeal: MV 9"; HD 10; #AT 1; Dmg 10-40 years; AL LE.

9 3-12 (3d4) ghouls: AC 6; MV 9"; HD 2; #AT 3; Dmg 1-3/1-6; AL CE.

10 1-4 wights: AC 5; MV 12"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

11 1-4 wraiths: AC 4; MV 12"/24"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

12 1 maiden vampire: AC 1; MV 12"/18"; HD 8+3; #AT 1; Dmg 5-10; AL CE; SA hit drains 2 energy level, gaze can charm, become gaseous in same way as Strahd."

[End ID]

The first page of the lands of Barovia is setup for random encounters along with more info on The Mist. It talks about how to handle nighttime, daytime, and indoor encounters.

The encounters will only last 5 melee rounds (again 1st edition stuff, no idea sadly) so the monsters attack the players and then they flee as they serve to scare the players. Similarly for indoors encounters, just that wolves attack with the random encounter and they try to break down the doors and windows (roll a d6, on a 1 or 2 they succeed) and again after 5 rounds, the attack ends.

What is interesting is that you can get attacked by good aligned villagers or atleast encounter them? It is not fully clear but all the other encounters on the table are evil aligned so I imagine its all combats. I say that I am unsure because later on in the castle encounters, the module specifies one encounter as a non-combat. I find it interesting you can just encounter Barovians who will just be silent and treat the players as outsiders. Maybe some will be willing to talk to you? I doubt it but it could serve as a indication to the players that something is not quite right in the land of Barovia.

The night encounters look like they are all combat. My favorite is either the 2-20 wolves (roll 2d10) or the 10 to 100 bats (10d10) bats. Just the sheer number would actually terrify someone. Imagine fighting 50+ bats. That is unforgettable.

Moving on to The Mists, or as the module refers to as the fog, we get some interesting lore elements I want to talk about. The fog here is in fact the mists we think of and the poisoning fog is consistant across second edition; I skimmed through my third edition source book and didn't find a comment, other than Strahd can close the borders and third edition source books tend to play very close to second edition canon. So the poison element is Strahd closing his borders to Barovia and preventing those within Barovia from leaving. You can obtain an antidote to this poison as the Vistani do sell this but second edition calls out that you also need Strahd's permission where in I6 the cure exists but is unobtainable; its just away to explain why the Vistani can come and go. I6's poison is different the Curse of Strahd since players don't start choking in the fog and the fog itself is not poisonous, but rather magical. The fog in Curse of Strahd also gives players exhaustion which is closer to second edition which lowers the players constitution; though unlike I6 or second edition, a player can't leave Barovia even if they succeed on the saving throws.

I want to also talk about the whole decison to add the fog and the consequences to the whole lore of Ravenloft. The fog from a gameplay perspective gives Strahd more power and makes sense as to why the villagers of Barovia have never left, they cant. This whole land is Strahd's lair. In the tome, Strahd calls himself "the land" and being able to control who can enter and leave makes it far more literal. He is quite literally the land, the fog moves when he asks and it bends to his whims. I won't lie and say the early iteration of the fog in I6 is a bit cheesy, like its just a poisonous cloud of fog and the vistani just happen to have the cure so they can come and go but they way it evolves is so interesting. It starts as this trapping force just for the players to becoming the prison that keeps Strahd contained, just that he is literally Barovia itself. He can trap those as part of his curse being the Darklord of Barovia. Its a wonderful role-reversal.

Returning to the module, the next couple pages are the set up for the module and its surprisingly one of the set ups in Curse of Strahd, "Plea for Help"; down to the exact same letter the players receive. It is word for word, only with some minor changes like inserting commas

[ID] The image is a black and white document on a wooden table. It is similar to the previous image. There is text on the page laid out such that there is two boxes containing text with text in the middle separating the boxes. The first box is cutoff in the image; the following is the text starting with a cutoff sentence:

"subdued. The letter is lying before you. Dated yesterday, the ink is still not dry and the parchment is crips. The seal is a crest you don't recognize."

The following is the text between the two boxes:

"If the PCs open the letter, read its content from the following boxed text."

The following is the text in the second box:

"Hail to thee of might and valor:

I, a lowly servant of the township of Barovia, send honor to thee. We plead for thy so desperately needed assistance within our community.

The love of my life, Ireena Kolyana, has been afflicted by an evil so deadly that even the good people of our town cannot protect her. She languishes from her wound and I would have her saved from this menace.

There is much wealth in this community. I offer all that might be had to thee and thy fellows if thou shalt but answer my desperate plea.

Come quickly for her time is at hand! All that I have shall be thine!

Kolyan Indrirovich

Burgomaster

[End ID]

I shouldn't be surprised by this; the "Plea for Help" adventure hook from Curse of Strahd is one of two adventures hooks that don't really need set up or has hard requirements. It also is very organic. Someone comes in and offers your party job, shows off that they are clearly rich by buying the whole tavern drinks for the night, and leaves. The letter is also very forward and offers the party riches for help. Its very simple but effective. I am a bit shocked how the words have not been changed in the 30+ years between the modules; but as I have mentioned earlier Curse of Strahd doesn't take a lot of liberties for the content in I6. The hook also assumes the least about the players which helps with its effectiveness. The hook relies on the party desiring wealth, which in first edition was a guarantee since leveling was associated with gold, and offers some additional motivation for good aligned characters.

Continuing on, as the players enter the Svalich Woods, they also encounter the real letter being sent by the Burgomaster of Barovia village. Again this is the same letter, though some of the words are slightly different, like dropping the words "creature calling its race".

[ID]

The image is a black and white document similar to the previous image. The image has two boxes with text. Between the two boxes is a set of text. The only word legible in the first box is the word: "scream". The following is the text between the two boxed texts:

"Three turns after all the PCs enter the woods, they find a dead villager in the underbrush. He holds an envelope crumpled in his hand. The remains of his clothes are torn and raked with claw marks. Paw prints of many large wolves are pressed into the clay around the body. The man has obviously been dead for several days.

The letter is dated one week ago. It is sealed with a large 'B'. The parchment is worn and flimsy. It reads as follows:"

The following text is contained in the bottom box:

"Hail thee of might and valor:

I, the Burgomaster of Barovia send you honor - with despair.

My adopted daughter, the fair Ireena, has been these past nights bitten by a creature calling its race 'vampyr.' For over 400 years, he has drained this land of the life-blood of its people. Now, my dear Ireena languishes and dies from an unholy wound caused by this vile beast. Yet I fear, too, that the creature has some more cunning plan in mind. He has become too powerful to be fought any longer."

In small text below the box is the following: "Letter continues on next page."

[End ID]

[ID]

The image is a black and white document similar to the previous image. The border of the document is similar to the "Lands of Barovia" image. There are three potions of text in boxes, with third becoming cutoff and unreadable. Between the first and second box is more text. The first box contains the following text:

"So I say to you, give us up for dead and encircle this land with symbols of good. Let holy men call upon their power that the evil one may be contained within the walls of weeeping Barovia. Leave our sorrows to our graves, and save the world from this evil fate of ours.

There is much wealth entrapped in this community. Return for your reward after we are all departed for a better life.

Kolyan Indirovich,

Burgomaster"

The text between the first box and second box is as follows:

"Roll 1d6 every turn the PCs ar ein the woods. If the result is 4 or more, the PCs hear a lone wolf cry in the distance. One more wolf cries each round. If the PCs are still in the woods after 5 rounds of howling, the wolves attack. If the PCs are entering Barovia, only 5 wolves attack; if the PCs are attempting to leave Barovia, 25 wolves attack. The wolves stop their attack if the PCs leave the woods by entering the village.

5 or 25 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE. "

The following is the text contained within the second box along with its header: "D. The River Ivlis

The river Ivlis flows as clear as a blue winter sky through the valley."

The following is the text contained within the last box along with its header; part of the text is cutoff and the last word visible is 'wet':

"E. The Village of Barovia

Tall shapes loom out of the dense fog that surrounds everything. The muddy ground underfoot gives way to slick, wet"

[End ID]

Continuing on, the village of Barovia is more or less the same. Ireena is also a 4th level fighter in this module. I find this interesting that she is a level lower than what the players start at (5th level) since Vampires drain levels in 1st edition and this is not so subtle acknowledgement that Ireena was attacked by Strahd and had her blood drank. It also prevents the main npc character from overshadowing the players in fights, though Strahd and the monsters he controls do not target Ireena. Ireena's characterization in I6 and Curse of Strahd is similar, a mild but strong willed fighter. I6 however says she wants to fight and kill Strahd for harming her homeland and killing her father where this only occurs if she is you ally in Curse of Strahd. Ireena is someone who's is fighting for a lost past and a future she can never have. Her life was completely upended several times by Strahd, as both Tatyana and as herself. I6 is a story about Strahd, Tatyana, and Sergei. Strahd's jealously and envy destroying his family and he is cursed to live in a nightmare for eternity as death, the thing Tatyana saw him as. Tatyana is forced to reincarnate endlessly by The Mists to remind Strahd that he can never have her. Sergei can not move on after losing the love of his life and seeing his brother in endless torment. Its a tragedy. Ireena needs to be part of the group who helps kill Strahd. It makes her and Tatyana not some damsel in distress but instead someone who is hurting and who triumphs over their pain to forge a better future; whether or not she ends up with Sergei is left to the DM depending on how the players have interacted with her. Curse of Strahd has some changes, that takes keeps the elements of this story but expands further with the introduction of the randomized ally.

The introduction of a randomized ally frees up that role to be anyone in the cast, with a few exceptions. It allows Curse of Strahd to break away from just a story about Tatyana and Sergei and to be about how Barovia, the country, is suffering at the hands of Strahd and how everyone in the cast has a dark or tragic tale because of this suffering. From Victor hating his homeland and trying to escape to Vasilka, a person who is being made as a wife for Strahd. I don't think you can have both. At the cost of Ireena being the sole focus, we get more depth and re-playability and Curse of Strahd is designed for that in mind. It also lets Ireena free herself as a character from just being Tatyana again. While both have the same ending for Ireena, Curse of Strahd's "Something Blue" special event in Krezk and the optional ending in I6, due to the length of Curse of Strahd, Ireena gets more of a chance to bond with player characters and come to understand the world she lives in and perhaps become more than Tatyana. Again this is up to the DM and the players in roleplay and narrative but I have seen this happen a handful of times. Ireena is allowed to become more unique.

Stepping off of my soapbox and coming back to discussing differences, we come to Donavich; he doesn't have a son in I6. The son is a vampire in the church's basement, that comes from Expedition to Castle Ravenloft, kinda. In Expedition to Castle Ravenloft, Donavich called Danovich, he creates a zombie plague after his son gets killed by Bandits. He hopes to bring him back so he keeps his corpse in the church basement; which yeah that is one hell of a change that gets rolled right back. I am not going to talk about Expedition here, but his personality in Curse of Strahd is much closer to this version than I6's version. In I6, he is close to a generic clerical figure; warm and kind while knowledgeable about evil. Donavich in I6 knows Ireena's whole backstory of being adopted, which Curse of Strahd does stay consistent with. However in I6 he has information on Strahd he is suppose to give the players, mainly info about the tome of Strahd.

He is almost a different character in Curse of Strahd because how much he is hurting from his son being a vampire. The villagers do not trust him in Curse of Strahd and he is losing his grip on reality. He is doing everything he can to save his son and clearly wants to help the players when they meet him. He is also the one to give the players the idea to take Ireena to Krezk and the abbey. And if he is your ally, you have to help him kill his son and give him a proper burrial. Without Doru, Donavich is much more put together and reasonable. He wants to help the heroes just as much but he isn't an actual cleric, he doesn't have magic. And if he were to leave, then the only place of good in Barovia would fall to darkness which gives him a reason to stay behind. I do not have a strong opinion on which version I like more. I think both fit the energy of the Ravenloft as a whole and both serve their purposes well. Doru exists to give Curse of Strahd more darkness in the opening and highlight that the players were not the first to try to kill Strahd. I did go on about the changes for Ireena but making Donavich a potential ally really fits with his I6 counterpart even if he wasn't really a fighter in I6. The reasoning for him join is very clear. He has lost nearly everything, and the only thing he has left to give is himself. A father who wants the devil to pay for killing his son. He gains a conviction, which is something that is missing in I6.

Outside of Ireena and Donavich, there aren't any more major differences until the castle. Once you get to the gate that we know would lead to Villaki, the carriage to Castle Ravenloft appears and it waits for the players to enter to go to the castle. The module breaks if you don't enter the carriage which makes sense. Vallaki, Krezk, and the rest of Barovia don't exist in lore as this is the first module. When all the players arrive at the Castle, the drawbridge drops down and it has one of the funniest and also probably most infuriating ways you can die. Quoting the book "Each time anyone except Strahd crosses the bridge, there is a 5% chance of a cross board breaking. If the cross board breaks. the character on it must make a dexterity check or fall to the bottom of the cliffs, 1000 feet below". In other words, 5% chance you need to make a dex save, on a fail you die. I had to share; first edition is fairly infamous for traps that can just kill you and I6 is no exception. I am so glad we do not design dungeons this way anymore.

[ID]

A black and white document on a wooden table similar to the previous image. The border of document is the same as the previous image. The page number is at the center of the bottom of the page; the page number is 10. The document is a black and white image of a carriage drawn by two horses heading to a large castle. The carriage is in the left corner of the document. The style of the carriage invokes victorian style. The carriage has three accents that divide the carriage into sections horizontally. At the top of the cairrage is a holding area for luggage and other objects. In front of the carriage is a drivers set which is unmanned. On the right of the drivers set is a parking lever. The back of the carriage is additional luggage space, in the shape of an "L". Below this additional luggage space is a seal that is illegible. The carriage has 3 windows each spaced equally apart on the upper half of the right side. Above the the right window is a Victorian styled lantern. The door to the carriage is in the center of the right side of the carriage. The door's hinges are on the right of the door and the door's handle is on the left. On the lower half of the door is a symbol of what appears to be a bird or bat. Three of the carriages wheels are visible: The Front right and both rear wheels. The left rear wheel is cut off by the page. The right rear wheel is cutoff by dust and the page. The front right wheel is obscured by dust. All the wheels are attached to the bottom of the carriage and each other with a bar.

The carriage is being pulled by two large black horses. Their harnesses appear to be uniform in make are similar. The harness attaches near their neck and the middle of the back, and near the hip. The horses are controlled by reins that attach at the horses mouths and face and loop into the harness before becoming no longer visible.

The castle is in the background. The castle is made up of several spires and a drawbridge. The drawbridge has two towers at the end of the bridge. The drawbridge is attached to a large barbican by a chains. The barbican has three visible towers, one at the left corner of the wall, and two towers between the gate of the barbican. Above the gate of the barbican the same symbol that is on the carriage's door. Each tower and the walls between the towers have battlements. Behind the walls is the keep. The keep has 5 visible towers, two on the left and right of the keeps center barely visible, one tower that lacks a spire on the right taller than the keep and is attached to the left tower by a bridge, the left tower is taller than the right tower and has an attached spire, and the tallest tower on the right with a spire at the top. The keep has a chimney under the bridge attaching the two towers.

The foreground has a set of trees obscured by the carriage on the left with a patch of grass in the bottom right corner. The background behind the tower is a set of mountains only illuminated by a large lighting strike. The lightning starts in the top right corner and flows left towards a set of trees in the foreground. The carriage is traveling on a dirt path that leads into the castle.

[End ID]

Part 5 The Castle

Starting of the castle section similar to the previous one with Castle Ravenloft's encounters. You can encounter Strahd randomly but the most interesting encounter is the angry villagers which make you get more encounters because they are making a ton of sound but will help out in a fight. They don't attack the players but I think its a fun bit of story telling to have others who are fed up with Strahd's rule helping the players as they explore the castle.

Before I continue onto the rest of the castle bit by bit, I want to talk about the npcs in the castle. The biggest difference in the castle is Rahadin. Rahadin is actually introduced into 5th edition. The dusk elves don't exist until 4th edition and are introduced in one of the Dungeon Magazine issues, in specifically "Fair Barovia"; side tangent on the side tangent, look into Fair Barovia, it has some really cool similarities to 5th edition and it feels a bit like 5th editions proof of concept for Vallaki. Anyway, Rahadin and the Dusk Elves just don't exist. Nothing about them at all is in the older versions of Ravenloft. The closest thing are the Shadow Fey but the whole Drow/Shadow Fey retcon is a neat topic for its own day. Gosh sorry, Rahadin. He probably is my favorite change to the module full stop. He adds so much more depth to Strahd and his own darkness. Rahadin allows Strahd to be more human. He has someone who is his weakness and vice versa, Rahadin's weakness is his loyalty to Strahd. He can be just as meanacing as Strahd and just as cold while at the same point letting the players feel above him since whenever/if ever the players have dinner with Strahd, Rahadin is forced to be the servant. Yet it feels like there is something more. He takes care of the dirty work for the master of the castle, sometimes its cleaning, sometimes its killing. Overall, I wish the dusk elves were better integrated into the story of Curse of Strahd since other than Rahadin's backstory along with the whole Patrina and Kasamir story line, they don't get a ton of flavor and because they are so recent and it makes me sad, especially since the Dusk Elves are from wherever Barovia is from and some older modules touch on this exactly, mainly the hexad modules (again another time if people want).

Speaking of Patrina - She exists! Wait I just said the dusk elves don't exist. Correct! Both are true statements. She is made into an elf vistani, which is a bit weird. 2nd and 3rd edition make it clear that only humans can be Vistani while 4th and 5th say it doesn't matter (they invent Mother Luba for Tasha's Cauldron of Everything and add her in with Van Richten's Guide to Ravenloft; she is a halfling). So uh, no idea what this means. 1st edition breaking all the rules! 5th edition dropping the Vistani part and making her a Dusk Elf does let Rahadin have more depth as I mentioned. I think this element is just messy lore because Ravenloft was just a module; it wasn't intended to be the start of a setting. Weird things like this happen. Otherwise for Partrina, her backstory is more or less the same. Just Kasamir doesn't exist in I6. Curse of Strahd does a much better job integrating her into the overall setting of Ravenloft, even if it meant inventing a type of elf native to Barovia. I was honestly a bit shocked reading that she existed in I6 since elves don't have a strong place in Barovia when it comes to the greater Ravenloft canon. Patrina's expansion and role in the story along with Rahadin and Kasamir add depth that I would never want to remove and feel almost as if this was something missing from second or third edition. Something that is a one line piece of text and encounter in the crypts became something far more interesting and it makes Curse of Strahd better for it.

The next changes are Strahd's vampire brides (and Escher). They do not exist in I6. I don't have any fun facts on like when they were added or what inspired them; just that they are added in 5th edition. I am curious as to why they were included. Strahd isn't just after Tatyana, given that Patrina is from 1st edition, so it make sense he could have some wives (and someone else) so is that why? I would love to talk to someone who made Curse of Strahd and ask so so many questions but I just don't have the info on why they exist. They give flavor and depth. That's probably it. I feel a bit sad that my extent of knowledge on these characters is what it is. Escher is a fan favorite since he is such a sad man who is now over his head. WotC did a good job in adding them since they feel fundamental to the experience of Castle Ravenloft as well as add some additional encounters that are not in I6.

Moving onto another character, Cyrus is Human in I6. He is the only Belview in the module but he is human. The mongrelfolk aren't from 1st edition Ravenloft. I specify this because one, they do exist in 1st edition and two, they do exist in Ravenloft, just later. The mongrelfolk are similar to another creature in Ravenloft, Broken Ones. Just Mongrelfolk tend to be nicer and more friendly (and also have a much sadder existance in G'henna) than the Broken Ones. It makes sense they would live with the Abbot since he is a kind being (good aligned atleast) and they are outcasts who need to constantly look for a home. Just, they are completely an addition to 5th editions version of the module (and Barovia as a whole). I am not going to go into the changes 5th edition does for Barovia as a setting but I do think it would make for an interesting topic. Making Cyrus a mongrelfolk makes him more friendly and overall adds more horror flavor to the world. Every major character is human, that is so bland. The point does work though, it makes non-human characters outsiders. It works well, but adding a bit of change here or there makes the world more interesting because you get characters your players can relate to. A drow character can relate to the dusk elves for example. The Belviews add that depth and strangeness that wouldn't be there if they weren't mongrelfolk. In 1st edition, Cyrus is just an old man who tells jokes at bad times and tries to lead the players to their rooms. I like 5th edition's change; he stays this old man but is far more likable personally.

News for Pidlwick II fans, he does not exist yet sadly. He was created for 5th edition. I generally like clockwork automatons and while Barovia really isn't clockwork-y compared to other Domains (looking at some of the more advanced domains like Paridon), living dolls are so cool. He has some interesting flavor if you expand him into the greater Ravenloft setting since he could be considered a Dread Construct. The lore around Pidlwick II however, is fairly interesting. I6 and Curse of Strahd disagree on who Pidlwick the first is; well I say I6 disagrees, its more the lore given to him in 3rd edition's source books is different than the lore Curse of Strahd uses. In Curse of Strahd, Pidlwick is a fool of Duchess Dorfniya Dislisyna and Fritz von Weerg made Pidlwick II and Pidlwick II killed Pidlwick. In the second and third edition canon, Pidlwick is the husband of Dorfiya Dilisnya and the "father" of one of the most important characters in all of Ravenloft canon, Leo Dilisnya. Leo deserves his own post as well but if you know "I, Strahd" you know Leo. Anyway Pidlwick's mother gets murdered and he starts an assassination war with the Petrovna families called the War of the Silver Knives. Strahd orders the assassinations to end and Pidlwick grows to despise Strahd since he didn't avenge his mother. Leo takes on this hatred for Strahd when Pidlwick dies. Now why is he called a Fool of Dorfniya? Its assumed its because Leo isn't his son by blood and he was cucked by another character. That is such a wild difference in lore for once character but without it, Pidlwick II wouldn't exist. Yet Leo's remains do exist in Curse of Strahd in Wachterhaus but I am getting off topic.

Lastly on the who's whos of the castle: Helga, Lief, and Gertruda exist and 5th edition leaves them unchanged. They exist, they fill their roles the exact same way. It is still very cool to me to see how much of this module can remain the same over 30+ years across several editions.

Now onto the Castle proper; I will be sprinkling in throughout this section the remaining art in the module as there is only a handful more and the rest is text. Something I think that was interesting when I was looking over the other editions of this module is that they all use the same numbering for the locations in the castle. Like K30 is the Office of the King's Accountant in I6. Curse of Strahd also makes K30 - King's Accountant. Overall. I think this is wonderful and its something most people wouldn't notice and only the dedicated fans like myself would. And I love this. And it makes my life easier since I can refer to each room in the castle by its location number. Now overall, the castle is the same in Curse of Strahd as it is in I6 so I will only mention any notable changes.

The first of which is K15 - Chapel of Ravenloft. We don't actually get the name of the figure who tries to steal the Icon of Ravenloft in I6 and in Curse of Strahd the icon is more powerful. In I6 it just lets you heal any creature 6 to 21 hit points and makes the ability to turn undead stronger while 5th edition adds the Protection from evil and good radius and the augury spell. Its also said to be 10 pounds in 5th edition while 1st edition just says its small; which 10 pounds is not small. Then again its a foot tall silver statuette that is half a food wide, so I think 5th edition is correct in making it fairly heavy. I am curious for the reasoning in making the Icon stronger, the protection from evil and good spell is so useful in this dungeon and the augury spell is just fun flavor.

Next is K20 - Tower Hall of Honor or as 5th edition calls it Heart of Sorrow. Yeah, the biggest change is the name. Its called the Guardian of Sorrow as mentioned earlier in this post. The animated halberds also aren't flying swords or anything but instead how the Guardian of Sorrow attacks. The heart actually makes the players take dexterity saving throws every round or they fall down the stairs since the whole castle is shaking which is cool but annoying. The module does mention explicitly the players can move at 1/4 movement to avoid the saving throws but still awful. Atleast 5th edition had the kindness to just knock you prone when you failed the dexterity save rather than fall down to a lower floor. The heart also doesn't have any kind of life/shield link with Strahd like it does in 5th edition; it just exists. Saying it "exists" underpins the whole thematic reason its here. Like the whole purpose of the heart is to say the castle is alive, and maybe the land is alive even? The whole "I am the land" in his journal seems far more literal now, like this could be his heart! Its so brutal. 5th edition makes the link even more clear; he is hurt when you hurt the heart and the heart takes damage for him. Its a masterful change in 5th edition, it adds flavor and gives the players more reason to explore. I also like "Guardian of Sorrow" far better than "Heart of Sorrow" but that's me.

[ID]

The image is a black and white document of Strahd von Zarovich playing an organ. The organ takes up the majority of the image, being cut off by the left edge of page curving around and ending at the right half of the page. The top left to the top center are the organs pipes in two rows, each topped with a dragon head open as if to breathe fire. Part of the back row of the pipes are cut off by the top of the image. The pipes are then hidden by the organs at their bottom. The organ appears to have 4 rows of keys that make the up center of the organ. Above the top row of keys as well as the left and right of they keys appear to be buttons or knobs to activate additional elements of the organ. Dividng the buttons from the keys appears to be inlays with circles. Bellow the organ is two rows of swell pedals that get hidden behind Strahd and the darkness of the image. In front of the swell pedals is the pedal board of the organ. The right end of the organ is a ornate carving of the dragon. Below the dragon is a post carved to look like the dragon's feet. Below the foot of the dragon is the signature of Clyde Caldwel.

Playing the organ is Strahd von Zarovich. His left hand is on the second row of keys while his right hand is in the air as if to strike the keys dramatically. Both his left and right arms show a visible undershirt sleeve. The left arm has a button near the sleeve. His right hand has nails like claws. Only the left profile of his face is visible. His hair is licked back but fades into the darkness of his clothes. The rest of his clothing is veiled in the darkness and are to obscure to make out.

The chair Strahd is sitting in is mostly obscured by his cloak. The left portion of the chair is visible; the upholstery of the chair along with its front left leg. Keeping the upholstery in place are round staples or buttons. The left leg is carved to look like the foot of a lion or beast.

[End ID]

K30 - Office of the King's Accountant. The biggest difference is 1st edition has less loot and the reason Lief is upset is slightly different. Lief wants access to the hidden treasury. Why he knows this is never explained but he also knows the whole layout of the castle and will give the players a map to the holy symbol like in 5th edition so I assume he knows it exists but Strahd won't let him use it. I don't know when "Manual of Bodily Health" is first created but it doesn't exist in 1st edition's version of the module so I assume it was added as more interesting loot than just money, since 1st edition has the same amount of money but the manual is replaced with 100 books worth 10 gp each. I like this minor but impactful change. If the player characters are just playing Curse of Strahd, the manual is just as impactful as if it was more money but if they go beyond Strahd into another game, this is far more impactful. Either way, its a cool and fun change.

K31 - Trapworks. The only difference here is the damage you take from being on the top of trap. In 1st edition its 3d10 with no save to avoid damage while in 5th edition is a dexterity save taking 8d10 on a failure, which is so much more. I imagine this is because players should be nearing the level cap for the module and that level cap is far higher for Curse of Strahd than Ravenloft but also I have no context for hitpoints in 1st edition, this could be much more damage. Everything else is the same, magical sleep hits the players and then they are trapped. Overall its a really cool trap, I never have seen it in action and I want to here stories about being imprisoned or the elf of the party saving everyone; seems like a really cool narrative moment.

K41 - Treasury. Similarly to Office of the King's Accountant, the 5th editions version just has far more stuff, but also its missing some things. Mainly all the magical weapons. 1st edition has a +2 sword and 3 +3 maces in addition to all the money. It makes sense to give the player a load of magical weapons since in 1st edition, vampires can only be damaged by +1 or more weapons. So this is a solution to a problem that they player will encounter when they go to fight Strahd. It also reinforces the need to explore dungeons and keeps up with 1st editions dungeon diving nature. I think this is kinda cool, I don't think I know of a module that hands players multiple +3 weapons at once. 5th edition swaps those out for the +2 shield, some potions, and the instant fortress along with the helm of brilliance, rod of the pact keeper and alchemy jug. I think both are fun treasure piles but I think 5th edition benefits from having a larger pool to draw magic items from. The shield is also unique to Curse of Strahd since Argynvostholt was added for 5th edition. I think both treasuries fit the version they are in. Like 5th edition does not focus to heavily on better gear as a requirement for fights, it just makes fights easier. So a diverse pool of gear is better than a large amount of magical weapons; especially since a magical weapon isn't needed to hurt Strahd. 1st edition does focus on that sort of progression so magical weapons make a ton of sense and as I mentioned, characters need magical weapons to hurt Strahd at all. The module is designed for six to eight characters in 1st edition; which is larger than most parties are in 5th edition. There is one sunsword but what if there are 3 fighters? This is how you get around the problem.

K46 - Courtyard outlook or Parapets in 5th edition. 5th edition added an encounter here. Neat. You have to linger here to fight Strahd's armor but you can. I don't have much more to say than it surely is an encounter that exists.

K49 - Lounge. I need to share that they changed the book titles here. One of the old ones is a gem in my opinion. "Identifying Blood Types: A Beginner's Handbook". I think it just neat. That's all.

K63 - Wine Cellar. This area is expanded quite a bit, flavor wise, in 5th edition. First off - potential encounter with a slime. Neat. Second, all the wine is explicitly from the Wizard of Wines. I like this, thats all.

[ID]

The document is a black and white image similar to the above image. The image is of Ireena Kolyana standing next to the portrait of Tatyana. Ireena's hair appears to be dark, messy, and long, going past her shoulders. Ireena appears to be wearing lipstick. Ireena's outfit is that of a traditional longsleeve vest and pants with a cloak. Around her neck is a cross with a gemstone in the center of the crucifix. The cloak around her neck is held in place by a clasp with a tassels and a gemstone in the middle of the clasp. Around Ireena's waist is a belt with three buckles, one in the center and one on each side of the middle buckle. The bottom of Ireena's shirt is a repeating pattern of a hollow white diamond with a black square in the center of each diamond and a white dot in the middle of each square. The diamond pattern is on a strip of black fabric. Ireena's pants appear to be dark in color with no discernable features. Ireena casts a shadow on the wall behind her on the left side of the image. In Ireena's left hand is her sword which she is pushing into the ground. The sword appears to be in its hilt and it cut off by the bottom of the image. The hilt has two circular inlays with gem stones. The bottom of the two inlays appears to be in the middle of a cross inlay. Near the top round inlay is a loop that has a strap passing through. Ireena's posture is tall and proud, with her right hand at her waist and her left arm leaning on her sword; clearly poising next to a portrait very similar to her appearance. She is facing the right

The portrait is of Tatyana. Tatyana is sitting in a chair, looking left of the viewer. Tatyana has the same face, hair, and lipstick as Ireena. On Tatyana's head is a crown and 3 strings of pearls from the crowns right end flowing behind her hair. Tatyana is wearing a dress with several sets of jewelry. The first is a large necklace with a round pendent with a inlaid gemstone At the end of the neck of the dress is another piece of jewelry, a diamond shaped button with a gemstone. Tatyana's hands are resting at her lap. Each wrist has a bracelet. At her waist is a cloth belt with circular buckle like piece. The chair she is sitting in has a curved back. The left portion of the chair is hidden and not visible. The right portion shows a carved accented arm that curves round into a spiral. Behind Tatyana is a curtain, that is drawn such that it curves behind her. The portrait's frame is heavily accented. The corners are three leaves facing outward, with the middle leaf being the largest, and a curved bow like accent attacked to the leaves, with the bow's guard or point facing the portait. At the middle of the frame section are additional smaller accents: A circle with a gemstone in the middle cut such that the circle looks to be two portions; from the gemstones are two curved limbs that mirror each other; where the limbs meet the circle are two small spikes pointing away from the portrait. Between all the accents are small circles in the middle of the frame's edges. Below the portait is the signature of Clyde Caldwel.

[End ID]

K67 - Guard's Hall or Hall of Bone in 5th edition. This area is very different. Like not the same area different almost. In 1st edition this is just a hallway. Thats it. Ok, Strahd does still kill is guards here, so there is stained blood still. But 5th edition adds in a whole skeleton/bone art sculpture made by Cyrus because why not honestly. That may come off as mean sounding, I think its actually just amazing. I have a soft spot for Cyrus. This can also be a spot for your treasure or Strahd's encounter which that isn't the case in 1st edition. Lastly, the ossuary has the skull of Argyvost which doesn't exist in 1st edition as I already have mentioned. Taking a step back, its interesting that 5th edition just invented a room. Like original Strahd did not have a bone room. You know, a room for bones of those he murdered. Granted he didn't make this, Cyrus made the bone zone. But is 5th edition Cyrus that much more wild compared to 1st edition then? Or better yet, Strahd just let him do this? That you can fight Strahd here or better find this tome here means he enjoys this room possibly? Like he is sitting at the end of a table in a chair of bone holding the dragon skull; what even? I don't know, there is more to say here than the bone room is cool but I love it. I need to know the reason behind the bone room minus "give the vampire a bone room". If its just that, kudos to the people fighting for this wonderful set piece. Such an amazing addition.

K75- South Dungeon. The real change is giving Emil a character. He does exist in 1st edition but he is unnamed and he just joins the party once freed to help kill Strahd but betrays the party once an opportunity arises. Emil is very similar in 5th edition unless the players know Zuleika (or she is your ally due to the reading) in which case he may join to help kill Strahd or just try to flee instead. I like that they made him a fully fleshed out character along with the werewolves without changing much of his actual role in the story unless you happen to get Zuleika as an ally which makes sense. I am not going into too much about Emil since his story is more related to the werewolves than the castle itself.

K78 - Brazier Room. This is very different/. The purpose of this room in I6 is to block the players from entering into the catacombs or other parts of the castle. Its a puzzle room with no hints other than an hourglass representing time in rounds, the golems each have unique stones their hands that can be thrown into the fire. Each stone has a different associated door and the golems won't attack unless the timer runs out. Other than this puzzle, there is a chest that 5th edition doesn't have for a good reason. First its trapped and if you open it from the front you fall asleep. If you can't be put magically asleep, the chest looks empty due to illusion magic after you open it from the front. So you need to open it from behind. Inside it has some spell scrolls, some potions, and of course a deck of many things. The deck of many things is a wonderful way to end a campaign; though I have no idea what the difference between 1st editions deck and 5th editions. I imagine not much has changed since 5th edition is quite brutal. There is probably a few 5th edition adventures that include the deck of many things somewhere but I don't personally like the item. In older editions where characters feel a bit more disposable, the deck is fine since it can just kill your character, but in 5th edition it can derail a campaign instantly. Anytime the deck has come out, the campaign almost instantly ends or becomes derailed since we now need to save a character because they pulled a card that does something awful to them.

5th edition completely changes this room to be a teleportation room to anywhere in Barovia basically using the same flame color puzzle but with a riddle which is nice and it removes the deck of many things for obvious reasons. I get the changes, it keeps the thematic purpose of the room the same and also removes the deck but also I miss the trap; one more final challenge if you need to get into the catacombs. The change also adds in flavor as to how Strahd can be everywhere in Barovia at any time, he can literally teleport. I think personally, the teleportation puzzle wasn't neccesary but the removal of the chest was. Curse of Strahd is a much longer campaign and to have it get derailed in the 9th hour would be unsatisfying for a lot of players. I6 is probably banking on the players using the deck once Strahd is dead as a treasure and hook for the next story. If you want a story with the Deck of Many Things, you could probably make it work as a way to keep your players in Ravenloft as a continuation but it might take some tweaking.

[ID]

The image is a black and white document of a knight with a sword and shield fighting zombies in water.. The image is similar to the previous image. The knight is on the left side of the image while the fully visible zombie is on the right. There are 3 zombified hands clawing up from the water; two near the knight and one in the background between the knight and zombie. The knight is positioned such that they are about to strike the zombie with their sword. The knight is wearing a helmet, scale mail, a shield, a curved sword, pants, greaves, and gauntlets. Their helmet is ornate with several curved inlays on the forehead of the helm. The top of the helm is spiked. The area of the helmet where the face would be located is open but there is no visible face. The helm curves down to guard the neck as it meets up with the scale mail. There is a strip of metal from the top of the helm to the base in the middle of the back of the helm. the scalemail flows from the neck to the upper thigh of the knight. On the knights shoulders is a set of pauldrons. The section of the scale mail around the neck is curved, suggesting that the helm scale mail section is on top of the body scale mail. The knight's overshirt is ripped apart at the chest, revealing the scale mail underneath. There is a strap from the knight's right shoulder flowing down to the left side of the knights waist with a buckle and gemstone inlay near the shoulder. At the end of the strap is a string of pearls or gemstones. Similarly, there is a mirroring strap that starts on the left should and meets the right side of the knights waist; this strap is thinner than the other strap. The shield is in the knight's left hand. The shield is round with a cross painted on the center of the shield. There is wear around the edges of the shield. In the knight's right hand is the curved sword. The sword appears to be a scimitar or a falchion. The swords guard curves up on both sides. Light creates a visible shine off the sword. The knight has a belt at their waist with six circular inlays each spaced equally. The knight's overshirt continues to the left of their body, covering part of their pants. The knight's pants are dark in color and have wrinkles near the right knee. The knight's right knee is protected by a their greaves. The top of the right boot is just visible above the water. One of the three zombie hands is grabbing at the knights right leg.

The zombie fighting the knight is crouched near the water with its left hand reaching to claw the knight and the right hand in the water. The zombies clothes are torn into rags. These rags barely cover the zombie, with big pieces of cloth dangling off the chest and left arm. The zombie's face is heavily decayed as it makes a gaunt snarl to the knight. The zombie's hair is ratty and short. Across the zombie's body are boils and scars. The zombie's chest is hidden and darkned.

The background of the image is misty on the left which flows down to the center of the image; with chains becoming visible in the right corner. The water of the image contains off colored pools around the knights legs, the middle zombified hand, and the zombies limbs in the water. In the bottom right corner of the image is signature of Clyde Caldwel.

[End ID]

The crypts are the next and generally, they either received more loot of flavor since most of they crypts in 1st edition are simple. Most are just text with flavor like "Beucephalus, The Wonder Horse. May the flowers grow ever greener where he trods" (yes they misspelled the name of Alexander the Great's horse in text, look at the last image in my post, Crypt 39). Anyway those that did have significant changes are listed below. Generally, assume Curse of Strahd gave each crypt either a description of the person interred or wealth inside the crypt if I did not mention anything in particular.

Crypt 6 - Marya Markovia. Her crypt is very different in Curse of Strahd. They added her thighbone as a weapon and changed her epithet from "Great was her beauty, undone by a jealous hand" to "Dead for all time". I think this was done to bring more flavor to the morninglord stuff since Barovia really didn't have any ties to the Morninglord other than some elements in "Vampire of the Mists", one of the Ravenloft novels.

Crypt 7 - Endrovich (Endrovich the Terrible) - In changing Marya Markvoia, Endrovich had to be changed. They explicitly call out Marya Markvoia as the one Endrovich loves but since Marya's crypt is Markvoia's crypt now, he just loves a generic Marya with no surname. He also doesn't haunt a gargoyle in 1st edition, he is just a specter you encounter. He also is guarding a stack of 3,400 gp in 1st edition.

Crypt 13 - King Intree Katsky- 1st edition this is just a named crypt with nothing. 5th edition gives him a gun! And a glider. Interestingly enough, firearms are not uncommon in flavor in Ravenloft. There is a lot of imagery and artwork of characters with firearms throughout Ravenloft in 2nd and 3rd edition source books so this is a fitting change.

Crypt 29 - Ivan Ivanovich, Beloved of Anna Betrovich- Yeah this is just not in 5th edition. This crypt is just straight up different. It belongs to Baron Eisglaze Drüf and has actual stuff in it, mainly a luck blade and brown mold for environmental cold damage. 1st edition just has nothing

Crypt 30 - Perfect Ciril Romulich - Since the morninglord doesn't exist yet, 1st edition does not have a holy symbol that blows up on evil creatures. Instead its 10 +1 arrorws, a scroll of raise dead and 3 potions, one is a potion of poison (yum), one is clairvoyance, and one is invulnerability.

Crypt 35 - This crypt is unused in 1st edition. The ghoul trap is new to 5th edition.

Crypt 37- Gralmore Nimblenobs. 5th edition does Nimblenobs dirty. He has so many more scrolls plus a +1 sword that can let you cast wish. Excuse me? I get the change but come on just the three scrolls for 5th edition and calling him "wizard ordinaire" is just bullying a dead guy who knew wish.

[ID]

The image of a black and white document of a vampire on the left side of the page and text on the right like previous images. The top of the pages has a similar border as previous images. The vampire is a women in a dress with a set of jewelery. The women's hair is long and dark, partially obscured by the darkness of the background. She is baring her fangs to the viewer. Her dress straps are thin. Her right hand is raised towards her face. Around her neck is a neclace with several gemstones. Around both arms are bracelets; her left arm has two bracelet while her right arm has a bracelet with 3 visible gemstones. Around her chest are several sets of bindings, one crossing under her breasts, one crossing at the waist, and two crossing around her chest forming an "x". The background of the image is darkness that fades to light from top to bottom. To the right of her waist is s signature of Clyde Caldwel.

Not all the text on the right is visible. The following is the visible text:

"A body in white clothing rots naturally, in small chest. Whithin the chest are 10+1 arrows and 3 bottles containing potions of poiso invulnerability

Crypt 31. '$$We knew him only by his wea

There is a large, bulging chest in the center is a trapper who attacks anyone that steps up

1 trapper: AC 3; MV 3"; HD 12; hp 62; #A AC; AL N.

Crypt 32. "St. Finderway, Saint of Lost Tr

The crypt is featureless except for two al Over the alcoves is written "Pass not the mortals!"

These alcoves are transmitting and r alcoves on the east sends thoses who enter alcove in K86. Stepping into the western receives persons teleporting from the west

Crypt 33.

The stone door is blank. This crypt has

Crypt 34. "King Dostron"

Crypt 35.

The stone door is blank. This crypt has

Crypt 36.

The stone door is clawed and marked so The tomb is empty

Crypt 37. "Gralmore Nimblenobs"

The stone door only gives the name abo within, rotting naturally. About the co one wish; a scrholl with hcarm monst polymoprh self spells; and a scroll w haste, lightning bolt, and slow spells.

Crypt 38. "Americo Standarski (Inve

When this crypt is opened, three pair out. Three hellhounds attack. These damage at up to 10 feet from their sco points if the character saves vs drago breath once per round for as many ro

3 hellhounds: AC 4; MV 12"; HD 5; hp + breath weapon; AL. LE.

Crypt 39. "Beucephalus, The Won grow ever greener where he trods."

This crypt has a larger door than all rears up when the door is opened breath obscures vision, blinds oppo"

[End ID]

For the rest of the crypt, there really isn't any changes. The trap that leads you to a pit full of enemies is from I6. Sergi's armor is +2 plate mail which is reflected in 5th edition, Stradh's teleport trap is the same, and you need to be lawful good to enter the tomb of Barov and Ravenovia; though 5th edition added the squeezing part for small sized player characters. Generally speaking, the crypt really didn't get changed. What was changed in Curse of Strahd was mainly done for balance purposes or to make the crypt more align with the canon that Curse of Strahd uses.

Now about those magic items. How different is the holy symbol or the sunsword. Surprisingly not much. The holy symbol basically has a daylight affect, though its different, weaker, and you can only use it once a week. However, your turn undead feature is stronger while using it. The sunsword is weird but also basically the same. The biggest difference in I6 is that you have to build it. One of the players who is a fighter with sword has the blade portion already, just they don't know it. The blade of the sunsword when not in the proper hilt acts like a normal blade. You have to take the blade out and put it in the sunswords hilt and then its a sunsword. Its a +2 sword except against undead which makes it a +3 and it does extra damage. The flavor of it being separated by a magician and then lost is is also from I6 but the flavor of the blade being Sergei's originally is not in I6.. Lastly, the Tome of Strahd; the passages are the same. I mean "I am The Ancient, I am The Land" is iconic so it would be a shame if 5th edition changed it. Given how much of the module is the same, the tome remaining unchanged is not surprising.

Lastly, talk about is the optional ending. I mentioned when I was talking about Ireena that the "Something Blue" special event in Krezk in Curse of Strahd occurs in I6. It is the optional ending that can play out once the players kill Strahd. I don't want to talk much more on Ireena but moving the ending to Krezk in Curse of Strahd makes sense. If we want other characters to be the ally against Strahd, having her story arc end once she arrives in Krezk feels appropriate.

Closing Thoughts

I know this was a fairly long post but I think it let me kind of go off on my random knowledge I have on Ravenloft as well as discuss some changes and liberties Curse of Strahd decided to take. Its a very iconic module and the fact that it has stood the test of time more or less unchanged is a testament to how impressive and popular this module was in the 1980s. It also gave me a bit of an insight as to the decisions the designers made in Curse of Strahd and their reasoning since despite staying faithful to I6, Curse of Strahd generally made changes for the better in my mind. I may have come across critical of Curse of Strahd but that is more than likely my own bias since WotC has somewhat shown disregard for second and third edition canon which has grown to upset me. If I were to expand upon my thoughts on Curse of Strahd, I would want to talk about it as a follow up since I ignored a majority of the module. I6 is fairly short compared to Curse of Strahd. That is to the benefit of Curse of Strahd, since it is able to flex its world building far more than I6. There were also some topics I never talked about, like the the monster stat blocks. Mainly because I don't have anything meaningful to say. I have never learned how to play older editions of D&D and I really only have passing knowledge. I can take photos and add them as an addendum is someone is able to explain what they actual mean.

Lastly, forgive me if I talk over topics several times in this post. It grew in scope and size several times and had a couple of re-writes. My brain is rot and its full of gothic horror.

[path-of-grass-and-leaves]

Bioregional Magic: Sustainable Ways to Work with Native Plants

Note: Post Contains Personal Anecdotes and UPG

As someone with a nature-based practice, I completely understand the desire to work with native plants. Many of us are deeply compelled to foster a connection with our land spirits and the local flora and fauna.

But with the normalization of consumption in witchcraft spaces paired with unethical wildcrafting and foraging practices, it's important to be careful. We don't want to harm the native plant populations and the wildlife that depends on them in our quest for a more localized practice.

Learning which plants are safe to harvest

By safe, I don't mean safe to handle or consume, though this is also crucial knowledge for anyone harvesting wild plants in general. I'm specifically referring to whether or not the collection of native plant matter will make a negative impact on the local ecosystem.

Think of it this way, if your practice is spirit-focused. Will the collective spirits of certain plants really want to assist you if you're devastating their population for your own gain? IME the answer is a hard no.

Take a look at a field guide and start identifying some of the native plants in your region. Are some of them listed as endangered, threatened, or special concern? Now you know which plants you should never disturb or collect materials from.

If not threatened, are some species generally harder to find? Are they present only in a certain type of environment? Do they take a long time to mature and/or have a very specific method of seed dispersal? Proceed with caution.

Example:

Common Blue Violets are one of the first plants to bloom in my garden during springtime. I also consider them very important in my practice and like to harvest them for certain rituals. But like I said, they're one of the first native plants to bloom during spring. Which means there are going to be pollinating insects, songbirds, and small mammals which rely on these plants for food. And predators who rely on those animals.

Since this is a hardy plant that usually grows in abundance, it's okay for me to harvest some from the garden for personal use. But I still need to leave enough to serve as a resource for wildlife and allow it to reproduce for the following year.

On the contrary, I never touch my wild Bloodroot. I only have two or three plants in the garden, their seeds have double dormancy germination requirements, and they take 2-3 years to reach blooming size. I have only ever collected seeds for propagation, and even then do it rarely because I know that the ants do a much better job at this than I could.

So when we can't harvest materials to use for tools and ingredients in workings, how do we utilize these plants in our practice?

Physical Representations and Symbolism

Images, objects, and symbols representing the plant can be used to substitute organic matter that you would otherwise collect and use for workings. Consider art pieces or photos, sculptures, sigils and seals, paper cut or folded into the shape of leaves or flowers, etc.

If the plant is your main component or energy source, consider designing the working to cater to this. For example, if I'm petitioning the spirit of milkweed, I might want to incorporate aspects of air and wind, since this is how their seeds are distributed. Or I may want to add some lunar energies knowing that this is the planetary correspondence for milkweed. This is would completely depend on my intent for the specific working and which physical or spiritual aspects of the plant I choose to work with.

If you're seeking a more long-term effect, try getting crafty and using symbols of the plant to decorate your own tools. I'm talking homemade oracle cards, painted jars or boxes for container spells, decorated offering bowls, ritual jewelry, and so on.

Working with Living Plants

This one is for the spirit workers. While it's entirely possible to petition plant spirits, especially collectives, solely using imagery, working carefully with a living plant can help establish a more direct spiritual connection.

This can be done by conducting your working outdoors, inviting the spirit of the plant into your space, and asking for assistance. During this time you would leave an offering, usually fresh water, but you can also offer things like soil or compost. Obtaining a working knowledge of certain plants can help inspire ideas for more creative, species-appropriate offerings, giving your spells and rituals an extra boost.

Now if this were a plant that was on a special concern or endangered species list, I would avoid offerings and actions that could potentially disturb the plant in any way. I may work within a few feet of the plant and present my offering in a bowl, removing it at the end of the working. I would definitely avoid touching it or say, pouring out water over the soil where it grows.

While we're on the subject of offerings, consider acts of service. Once again, we're going to use milkweed as an example. If I want to leave a nice offering for the spirit of milkweed and I know that Black Swallowtails feed on the nectar and pollinate it, I may offer a potted plant of dill placed in the wildflower garden. This is because Black Swallowtail caterpillars love to eat dill and will later pupate into adults, which will be beneficial for the plant. Consider different species and their relationship with each other. You may even get multiple spirit allies out of the deal.

Cultivation and Seed Distribution

Now, we've talked about ways to avoid harm when incorporating native plant species into our practices, but what about making a positive impact?

The Act of Growing Things is actually my favorite part of plant magic. Sure, I love harvesting my vegetables, fruit, and herbs to use in various recipes, and wild plants I find in the yard are excellent allies. But there really is something special about watching a tiny seedling grow into a full-sized plant, or seeing that delicate young native perennial thrive during its first year outdoors.

Whether transplanting or growing from seed, you're inevitably going to develop a strong relationship with that specific plant. You'll learn all about its growth rate, ecological benefits, soil requirements, and more. This will lead to folklore, correspondences, and later on your own UPG related to where this plant fits within your practice.

Another option, if you don't have the energy for more hands-on cultivation, is seed scattering. Disturbed areas like roadside ditches or even your backyard are perfect for this. Whether scattering or growing in starter pots, seeds can be charmed or enchanted with a specific intent and planted as a sort of living spell.

I use Prarie Moon Nursery for my seeds, but there are plenty of other affordable online vendors. You can also check out what's available locally. There are a few native-focused nurseries in my area that have a nice variety of options depending on the season.

[guarddog-of-proendos]

Image descriptions

- written by a visually impaired person

What is an image description?

an image description is exactly what it sounds like, a block of text describing the content of an image. this is important for many people but especially for blind and visually impaired people who cannot see the image (at least, not well enough to understand what's going on)

(people also cite that this helps people with slow internet, if you add that to this post I am hitting you on the head with a stick. our access to the internet is enough of a reason to add image descriptions, they don't have to help abled people as well.)

image descriptions serve the purpose of providing the same access to content and context in a post that you, a sighted person, have. the goal is to allow equal access for visually disabled people and other people who struggle to access images.

have you ever been stuck scrolling through Tumblr while images are refusing to load? was that frustrating? imagine how we feel every day, all the time.

How to write an image description

writing an image description is a skill. it's okay if you aren't great at it at first. not being great at it is not an excuse to not try. I'm tired of people telling me they can't be assed to try writing an image description because it might not be perfect. I would much rather read an imperfect image description than have no image description at all.

when you're describing an image the key point is to describe what's relevant, what you look at in an image. if the image is a tweet, describe what the tweet says. if the image is a picrew of an alter, describe what that alter looks like in the picrew.

You don't need to include every detail

a lot of guides will, with well intentions, tell you to describe a lot. sometimes, describing a lot is relevant. if you're describing a piece of art or photography then describing a lot is important because the point of the photo is to appreciate all of the photo. if you're taking a selfie, I truly do not care that your walls are blank and white. sometimes, more detail is less accessible. I don't want to scroll through paragraphs up on paragraphs for a photo that sighted people can just glance at and get the gist of.

take for example, this post divider I just used:

you could describe this as: a post divider with a large star in the center surrounded by a halo of the moon phase in gold. 2 horizontal lines come from it in the center with a pattern of alternating sun, moon, sun, and star symbols.

... that's really long. the point for sighted people is to break up the text with something pretty. it's not to admire all the intricacies of the image.

a more appropriate description would be: a star themed post divider

text, on the other hand, should always be transcribed in full. do not describe your DNI banner as "a DNI banner" that tells me nothing. put down all the text, all of it, because all of the text is relevant.

never use AI to write an image description! it's insulting and often inaccurate. problems with generative AI aside, throwing an image into chatGPT and then copy and pasting the sludge it spits out makes me feel like I'm not worth taking a minute to actually write an image description. AI generated image descriptions tend to be impersonal, inaccurate, and hard to follow because it just throws up all the random details it picks up on rather than describing the point of the image. with the editing required to fix a chatGPT image description you could have written your own and it would be better.

I truly cannot write an image description

ask for help. if you have no one you can directly ask, add a note to your post asking for help writing the description when you post it. when someone writes a description for you, copy and paste it into the original post. there is no such thing as image description theft, the point is accessibility. you can't steal accessibility. copy and pasting is not just okay it's encouraged!

on other people's posts (regardless of whether or not you can write an image description) you can often find image descriptions in the notes. taking a minute to check for image descriptions before reblogging an undescribed post is something fast and kind you can do for the people who need image descriptions. often you'll find a description and then hurray! that inaccessible post is now accessible!

....but I don't have any followers who need image descriptions!

yes you do.

if you truly don't it's probably because none of them can access your blog. fix that and suddenly you will have followers who need image descriptions

why is this in the pluralgang tag? none of you describe images.

Questions are encouraged

(if you have any)

[c00kietin]

Because I'm dumb and I don't understand the difference between a reblog and a repost, but I read the rules… I'll just send here the art (or rather a gif.) in gratitude for subscribing to my blog, as I have already done to others.

WWEABHJJFSBAJJDMFBHHA THANJ YOU FOR THE GIFF AAAAA I LOVE IT 😭😭💖💖💖 u drew brittany so well :3

[summerlimeismethebrony]

[Image Description: an 11-panel comic page on paper in which Laurice Deauxnim/Larry Butz and Maya Fey from Ace Attorney sit side-by-side. Laurice has tight posture and an uncomfortable look on his face, while Maya is looking around in an uninterested manner; a large textbox labeled "Waiting for Nick" points at the two of them. Laurice looks over at Maya with a sidelong glance, grimacing. Laurice turns away, asking: "...Do you hate me?" Maya bursts out: "WHAT? Why would I hate you?!" ["What" is in all caps to indicate volume.] Laurice flinches away from the outburst. Laurice begins to explain, saying: "Elise", but cutting himself off and shaking his head, starting again with a downcast expression: "Your mom was my mentor." ["Your mom" is underlined to indicate emphasis.] Maya leans forward on her hands and tilts her head in confusion. Laurice continues, waving his hand in the air: "Like, she taught me how to be a better person, to— to grow up, y'know?" Laurice looks back at Maya, his palm toward her, with tears in his eyes, and says: "But you... She was your mom, and you never got that." ["mom" is underlined to indicate emphasis.] Maya looks at Laurice with concern, as he says: "I wouldn't blame you, if you hated me." End Image Description]

I think they should be allowed a Real Conversation, actually

(And some close-ups, bc I forgot just how energy-intensive making a comic page is, and I ended up working really hard on this messy, self-indulgent little comic)

[fishyfishyfishtimes]

Daily fish fact #685

Lampreys!

While some lampreys turn to a parasitic lifestyle as adults, drilling into the sides of bigger animals to feed on their flesh and blood, lamprey larvae, ammocoetes, are actually filter feeders! The lamprey larva life stage can last up to a decade, and they spend their time being half-buried in sandy substrate, consuming whatever tiny organic particles float to them. Ammocoetes' feeding rate is the slowest of any suspension-feeding animal, and due to this they require a habitat very rich in nutrients.