#it's not necessarily beliefs in spirits+magic

[silverity]

i'm gonna make my painful contribution to The Discourse and say i do not see the harm in women reclaiming female centric spirituality.

i am not a religious person nor do i want to become one but spirituality is also about culture, community and celebration. i would much rather women celebrate nature, the female form, and "divine femininity" than patriarchal phallocentric religions. that "divine femininity" is used pejoratively has always tickled me considering we live in a world hooked on divine masculinity. the old matricentric religions are really the only form of female culture devoid of male-centric worship we can grasp at, since men have dominated our belief systems for thousands of years. and women learning about the old religions is the best way to unravel the myth of the male creator, and realise it is really women who are the closest thing to a "god" on Earth.

there's also an element here, which i think is deeply capitalist, patriarchal, and a little racist, of people considering the connection to & celebration of nature as somehow primitive. i think that the lifestyles most of us live now, with none of us knowing anything about the land around us is actually very infantile and regressive for humanity as a whole. the ways of life we consider "primitive" (primitive communism, matrilineal societies) are really what we need to find ways to return to post-capitalism. they were in tune to nature, sustainable, and much more communal & equal. how can nature be primitive or ascientific when science *is* in nature, and the practices of these old societies were early scientific discoveries & practices. as a Black person, my community is often trying to reclaim our lost practices. it makes sense to me that women would try to do so too.

[songsofbloodandwater]

"We generally perceive time as a linear construct—it moves in one direction — forward. Perhaps though, the spirits of the Otherworld, being free of other mortal laws might also find themselves free from the forward movement of time. This means they could, in theory, see past or future events at will."

—Death's Head: Animal Skulls in Witchcraft & Spirit Work (2022) by Blake Malliway

[simpforsolas]

So I've seen a some discussion of people both criticizing and defending the DATV companions for being nice to each other. And I think the arguments from both sides are being a little bit misconstrued, which is honestly understandable. I think that often when something bothers us in fiction, it's hard to put into words exactly what it is. So as we try our best to express ourselves, it may not end up getting to the point of what the issue actually is (this is also why it can be tough for writers to properly address criticism - the readers providing the criticism might not be accurately diagnosing the root of the problem, so their attempts to fix it are shallow and don't actually address the issue).

Now I obviously don't speak for everyone, but I do think that a good amount of the people saying they want the DATV crew to be meaner don't actually mean they literally just want people to be rude and insulting each other for no reason. I think it boils down to three things that the new crew was missing:

Inability to really feel how the companion's backstories form their unique worldview

Lack of conflict between companions

Limited relationship dynamics between Rook and the companions

Inability to feel how companion's backstories form their worldview

In previous Dragon Age games, the characters frequently discussed and argued topics of philosophy, faith, politics, and beliefs. They came from all different backgrounds. You had Morrigan, a hedge mage raised to believe in self-preservation, teaming up with an Andrastian circle mage and former templar. Their beliefs and worldviews are, at their core, at odds with each other. The game doesn't necessarily try to make you believe one way or another, it simply drops you into the world and allows you to interact with these character, see their interactions with each other, and draw your own conclusions. In Dragon Age Inquistion, you have Cole, a spirit of compassion, teaming up with Vivienne, who believes the circle teachings that spirits are demons and want to possess people, and Sera, who represents the perspective of the common people that are afraid of all things magical or fade-related. You have Solas, a staunch individualist who believes in freedom for all, Cassandra, a faithful Andrastian who follows her own inner compass even when at odds with the institution of the Chantry, and Iron Bull, a Ben-Hassrath agent who believes in the Qun not because he's a philosopher and has decided that's what works best, but because that's how he was raised and so far, the Qun has worked for him. So in previous Dragon Age titles, you have people whose worldviews and beliefs are fundamentally at odds with each other, and whose actions and dialogues are a direct result of those beliefs. Veilguard really downplayed the importance of religion in Thedas, which isn't necessarily a problem in and of itself. In DA2, the only companion with strong religious beliefs is Sebastian. However, you had Anders who believed strongly in mage liberation, Fenris, who believed strongly in the dangers of magic, and Isabela, whose lack of belief and lack of respect for religion/beliefs led to one of the game's biggest conflicts. Discussion of religion and philosophy was always a huge part of the Dragon Age games, so when they almost entirely removed that element and didn't replace it with other types of belief that could lead to meaningful differences of opinion, we were just left with nothing of substance to really talk about. This isn't saying that the companions don't have things they believe in, but it's just not the same as characters from previous games. In general, their backgrounds don't form a unique worldview that results in differences of opinions and interesting conflict. Which brings my to my next point:

Lack of conflict between companions

There's a huge spectrum between "everyone is friends and always gets along" and "everyone hates each other and is happy when their ally is sold into slavery." In fact, fans often get really into fictional relationships that have quite a bit of conflict. Speaking for myself, I love relationships where two people may fight or disagree, but they truly care for one another and would willingly put themselves in harm's way to protect one another. So I think when a lot of people say the companions get along too well, they don't necessarily mean that they want them to all hate each other (maybe some do). They mean that they just want there to be interesting interpersonal conflicts. (I personally would love for a companion pair to argue a lot, but when it comes down to it, they actually really care about each other) Why do we want this? Well first, conflict just makes things more interesting. But I think that it also ties into point 1. In this game, the companions simply don't seem passionate enough about what they believe to argue for it, or, if they are, there's not anyone who challenges their beliefs and forces them to defend their position. I would say that Emmrich is very passionate about his love for spirits and necromancy, two things which are seen as weird and dangerous by most people in Thedas. However, there's almost no chance for him to passionately argue for his worldview because no one challenges it. There is that one scene with Taash finding his passion for working with the dead creepy, but as soon as the issue comes up, it's resolved. Compare that to Solas, where a big part of his characterization is love for spirits and frustration with fear and ignorance leading people to discriminate against what they don't understand. Having to face opposition to his beliefs, both in the world and within the inquisitor's inner circle (and sometimes the inquisitor themself), gives the writers the opportunities to emphasize core parts of his characterization.

On a final note for this section, it's just more interesting when different pairs of companions have unique relationships with each other. Solas and Cole's wholesome, mostly conflict-free friendship is made sweeter because you can compare it to Solas and Sera's relationship. It makes the relationships more meaningful when you can contrast it to how those same people click or don't click with other companions.

Limited relationship dynamics with Rook

The final issue I want to talk about is how all this ties into Rook. In previous games, you could learn a lot about a character's beliefs by seeing what they approved and didn't approve of. Anders approves of supporting mages, Fenris doesn't. Leliana approves of compassion for strangers, Morrigan doesn't because why should she help people who can't help themselves, and also it's a waste of time. Cole greatly approves of helping people, Solas slightly approves of you asking questions, Cassandra approves of expressing belief in the Maker, and so forth and so on. Then depending on the choices you make, your approval actually makes a difference in how these companions view you as their leader. But in Veilguard... well either the companions don't have strong feelings about things, or Rook isn't allowed to make decisions that oppose the beliefs they do have. Because of this, there's basically no conflict between Rook and the team. From my understanding, worst relationship you can get with the team is "distant boss whose employees don't invite them to their work parties," but that's not the same as Cassandra hating you so much she gets drunk or getting specific rival scenes like in DA2 where companions react entirely differently because Hawke consistently acted in opposition to their beliefs.

Final thoughts

So when people criticize the companions not getting along, I think it's less to do with the fact that people want them to hate each other, and more to do with the fact that we want companions who have a strong worldview shaped by their backstory, and for that worldview being challenged to lead to interesting conflict. Whether that challenge comes from other companions, the world, or Rook themself, I don't care - I just want interesting and meaningful conflict that is arises because the companions are strong characters who believe in something.

[windvexer]

Heyy! If it’s not too much of a hassle what are some divination tips for tarot? Sometimes it feels like I am really good and than other times it’s like ehh

Sure, I could use a break before I start crocheting again 😅

I want to emphasize that tarot is one of those things where people really build up personal beliefs around it, so the following is in no way universal. It's all just what I currently feel and believe, heavily influenced by my beliefs as a spirit-working witch.

Most of the actual tips are at the end. I hope this helps!

Structures and Methodology

Tarot can't "magically" come up with valid answers no matter how it's put into use. It's a hammer and a screw situation; sometimes, using the tool incorrectly is less than useless.

Not all tarot spreads are very useful. The type of spread can have a huge influence on success. Try setting aside 'one question per card' spreads and see if that helps improve consistency in your results.

Not all tarot meanings are very useful. Tarot card meanings evolve and change over time. Modern meanings tend to be much more heavily skewed towards topics of introspection and self-help. Try reading books about the history and interpretations of tarot cards themselves to expand your understanding of each card. I recommend The Mystical Origins of the Tarot by Paul Huson for a strictly historical look.

Not all tarot questions are very useful. Learning how to phrase and frame questions, along with how to select a spread to place them in, are vital skills for the reader. Try focusing on strictly defined, open-ended questions.

Not every tarot deck is useful for every reader. It can come down to art and author meanings, but it can also come down to personal connection: a deck may work great for you for reading some types of questions, but fall flat on other types; or be more hit-or-miss. If you have multiple decks, try rotating between them or doing deck interviews to discover what types of questions they best address.

Memorizing the cards is not necessarily useful. It's not just that there are 78 cards, with 78 potential reversed meanings, each card in and of itself potentially having multiple meanings; it's also that depending on context, the core meaning can entirely change. Professional readers at events will pull out the guidebook and look up card meanings. There is no actual reason to try and memorize the cards unless you really just want to.

It's useful to have a map that helps navigate the cards. By adopting simple structures that paint large parts of the deck with broad meaning, interpretations can be easier to tackle. Another popular 'map' is the Fool's Journey.

You don't have to use the entire deck for every reading. Only using some parts of a deck to read is called reading with a restricted deck, and I really recommend practicing it as a way to develop a relationship with the deck structure. It can also be a very useful way to focus readings on one area of life (e.g., a new business venture reading may be read using only Wands and Pentacles).

That being said,

Check to see if cards are accidentally missing. Reading with a restricted deck is one thing, but I find my readings go weird if a card accidentally fell out and is lost.

You should take notes on your readings. I know it's a hassle, but the information you can glean and analyze from your own work is invaluable to figuring a lot of stuff out, like, what kinds of spreads work best for me? And what kinds of questions do I excel or fail at? Because next comes...

Energy and Individuality

Some questions are more draining or difficult to read than other questions. Here are my illustrated beliefs on the matter, explaining why some questions that seem straightforward can be nigh impossible to grasp. Try taking notes on the scope of the questions you can answer well.

Not all diviners are equally skilled at reading on all things. A diviner may have a special talent for certain types of questions (such as the outcomes of new ventures, or navigating the inner landscape), yet may fall flat when it comes to other questions (relationships or social intent, for example).

Any specific situation may have barriers to being read clearly. This is true even of mundane situations not expected to have magical influence. Sometimes, a certain situation, person, or concept will be shielded from view - and that can have nothing to do with the reader or querent.

Celestial timing may be a factor. Things like moon phase, time of year, or time of day can sometimes influence people's abilities to easily connect or easily interpret cards. Try paying attention to timing as part of note-taking and see if that's a factor.

Caffeine, drugs, alcohol, and rest can be a factor. Once I reach a certain level of fatigue (usually before bedtime) I can't read at all. Caffeine can sometimes also "close the veil" for me and limit me from being able to interpret readings. It might not be a factor for everyone, but it's something to pay attention to!

For practitioners, metaphysical workings can use up all available energy for divination. I find that my "pool" of magical energy feeds both my divination and my spellwork. Exhausting myself in one area (such as doing lots of energy work exercises) means I have exhausted myself in another area (no juice left for readings).

Witchcraft and Magic

Spells and wards can affect your ability to perform divination, sometimes in weird and unexpected ways. Go through spell notes to see if there is a chance prior, ongoing spells may be messing with your ability to read on certain questions. A big giveaway is when divination doesn't seem to work well specifically within a warded area, but this isn't a strict rule.

Prepare a place of reading, or reading cloth, enchanted to assist with finding answers. By consecrating and tending to such a place, such as a divinatory altar or divinatory reading mat, powers of far seeing, truth, and accuracy can be accumulated and much more easily raised. For those that have the space, a full divinatory altar can be an extraordinary tool. For such places, especially consider the power of symbols which open roads and gates.

Prepare a Charm of True Reading. Find, or develop, a small rhyme, charm, or prayer that calls on powers which support you and requests that your upcoming reading be clear and true. Repeat this before each reading, as desired.

Prepare an oil. A skin-safe carrier oil steeped with bay laurel, star anise, and lavender; or just bay leaf if the grocery store fails you, can be enchanted (especially under the full moon) to assist with opening the second sight and securing more accurate readings. Dab some on your forehead, ideally along with the Charm of True Reading.

Prepare a head covering. For some people, covering the head and/or partially blocking vision, can assist with entering divinatory headspace and with the receipt of visions and intuitive connections. As much as I like fancy things, I often end up using sunglasses and a hat. Being in a dark room might help as well, especially if you can get a candle in there.

Prepare incense. Here again bay laurel, star anise, and lavender can serve if you're able to powder and burn your own blends (remember to enchant them); but an enchanted stick of commercial incense will be fine (in any scent). Enchant the incense for the purpose of casting away doubt and influences that cause ill-sight, and to create an energetic haven where answers readily arrive to be interpreted by you, the reader.

Cast a circle. If you like to write your own rituals, especially focus on the concept of the circle being a liminal space between time that connects the worlds, almost like Grand Central Station where many threads of fate (and information) meet.

Consecrate your deck. Use any consecration ritual you like, but especially one that employs powers supportive of divination, true seeing, and psychism. This is almost certainly best done on a full moon. Consecrate your deck to be a tool which can peer into the threads of fate on your behalf, and then only reflect absolute truth back to you.

Enchant a tool to nurture and safeguard your decks. A lovely amethyst stone or clear quartz (or any variety of stone, bought or found), maybe one marked as special by putting it in a handy net, can be enchanted to be a protector of any deck it sits on. The value of this is to keep the deck enthroned in an additional layer of protection against untruth, but also to keep it bathed in energy related to divination and psychism. For those worried about decks getting magically "dirty," this is a good solution.

Also, cleansing decks sometimes is necessary, but it can be an easy operation. I find that spreading the entire deck face-down and mixing up all the cards in a big pile provides an adequate cleansing much of the time.

Spirit Work

Show your deck some love by providing it with offerings and a shrine, just as you would for an honored spirit. If the shrine isn't possible, an offering is excellent - maybe once weekly or monthly (depending on how often you use it), and even a small offering before each reading is useful. In my beliefs, this action goes far beyond making a deck happy with you - it can provide real, tangible effects on energy drain and the 'power' of your readings.

Petition gods, ancestors, or helper spirits. Beyond a Charm of True Reading, simply praying to helpful and benevolent powers to provide an assist can be really helpful. This is also an important way to develop a relationship with a guiding divinatory power. Speaking of which,

Get in good with a god or spirit who is associated with divination, psychism, etc. The Moon itself is a very solid choice. Apollo can see the future, and his buddy Bay Laurel (whom itself can be worked with as a divinatory spirit) can pack quite the punch. The dead are often said to be very good at helping with divination, but necromancy isn't for everyone. A witch who wants to become powerful in the ways of divination is wise to seek out helper spirits who are very good at this task.

Don't forget the gods and spirits of the thing you want to read on. If I wanted to know whether or not selling something online is worth the trouble, I might not just ask a far-seeing spirit to help me. I might also petition Hermes to grant me special insight into his domain. You can even use other spells you've cast (such as a prosperity spell) as a "foothold" into a certain area, but that's a whole topic in and of itself.

From time to time, a spirit may cause trouble. Divination can sometimes be interfered with by spirits who are upset with us. General offerings to appease offended spirits, or to make nice with the spiritual neighborhood around you, are well undertaken. They can be done even if you don't know that you've actually upset anyone.

[grey-sorcery]

[TITLE]: Blood Magic: Refutation, Practices, Safety, & Alternatives

Recommended Reading

Basics of Binding Anchors Basics of Spellcasting Spell Circles Correspondences Altars: Uses & Designs Spell Logs Energy Work: Fundamentals Bias in Witchcraft

IMPORTANT:

This article discusses blood magic as well as the actions and elements associated with it such as: bloodletting, infection, self-harm, and open wounds. Readers are encouraged to approach the content with critical thinking and sensitivity. If you find such topics uncomfortable or distressing, I advise against continuing further. The information presented is for educational purposes only and should not be construed as medical advice. Should you choose to engage with blood magic, it should be done so with respect for cultural traditions and safety considerations, which will be outlined. This article is not to encourage the use of any harmful practices, only to educate.

If you find the subject to be triggering but still wish to engage with the information, the last section of this article (highlighted in blue) has a diluted list of the article without triggering content and goes over alternatives for blood magic.

Like always, an asterisk* is used as a marker for a closed or semi-closed practice.

Introduction

Blood magic involves the ritualistic use of blood as a potent symbol and conduit for connection. Central to blood magic is the belief that blood, as the essence of life and vitality, carries inherent energies that can be harnessed and directed. This doesn’t necessarily require blood to be removed from the body. In a few cultures, such as Traditional Chinese Medicine, Ayurvedic Medicine, and some indigenous practices blood is utilized from within the body as a means for healing, directing energy from the subtle body, and developing a more thorough mind-body connection.

The applications of blood magic span a spectrum of purposes, each rooted in the practitioner's intentions and the energetic resonance of blood itself. While practices vary widely across cultures and individual traditions, common themes emerge regarding the uses of blood magic. Applications such as warding, binding, divination, and energetic balancing. 

Please be sure to engage in this entire article if you are able, and do so in good faith. Blood magic, as a legitimate magical practice, has been influenced and poorly reflected by media which has resulted in a portent of misinformation and misunderstandings. The aim of this article is to eliminate misunderstandings and promote safe and ethical practices.

Uses

Blood magic is employed for several purposes, each rooted in the idea that blood is a conduit of life force and energy. Primarily, blood magic is utilized in rituals aimed at strengthening bonds. It is believed that by incorporating blood into rituals, one can forge stronger connections with ancestors, deities, or the natural world. This practice is seen in various indigenous traditions where blood offerings are made to honor and appease spirits or gods.

Moreover, blood magic is often used in rites of passage. These ceremonies, marking significant transitions in an individual's life, such as birth, maturity, marriage, and death, incorporate blood to symbolize the transformation and the continuity of life. The act of shedding blood during these rituals is seen as a potent gesture, signifying the shedding of the old self and the emergence of a new, empowered identity.

In healing practices, blood magic is employed as a method of channeling energy to promote physical, emotional, and spiritual well-being. Traditional healers may use blood as a medium to draw out negative influences or to invigorate the body’s natural healing processes. This practice is not about the physical use of blood per se but rather the symbolic gesture, wherein the essence of life is called upon to restore balance and harmony.

The portrayal of blood magic in popular media has often led to widespread misconceptions and fear. Frequently depicted as sinister and malevolent, blood magic is associated with dark rituals, malevolent sorcery, and nefarious intentions. Such representations overlook the cultural and spiritual significance embedded in these practices, reducing them to mere sensationalist tropes.

A prevalent misunderstanding is the belief that blood magic is inherently evil or dangerous. This notion is fueled by horror movies, novels, and sensationalist media, which often portray blood magic as the domain of malevolent witches or nefarious cults. In reality, blood magic, like many other forms of spiritual practice, is neutral in nature. Its moral alignment is determined by the intent and ethics of the practitioner. For many cultures, blood magic is a sacred practice meant to honor life, foster healing, and maintain harmony with the natural and spiritual worlds.

Another common misconception is that blood magic involves human sacrifice or self-harm. While historical accounts do exist of bloodletting practices, particularly in ancient civilizations, modern practitioners of blood magic typically engage in symbolic acts rather than literal bloodshed. These acts can include pricking a finger or using animal blood obtained from ethical sources, rather than causing significant harm.

Furthermore, the false association of blood with the empowerment of spells is a particularly egregious misrepresentation. Blood is often depicted as a supernatural catalyst that amplifies magical abilities, granting practitioners extraordinary power. This portrayal is not only inaccurate but also undermines the cultural and spiritual significance of blood magic. The following is a list of media that inaccurately portrays blood magic or has been poorly represented in subsequent media. 

"The Book of Sacred Magic of Abramelin the Mage" (15th century)

"The Lesser Key of Solomon" (17th century)

"The Greater Key of Solomon" (17th century)

"The Key of Solomon" (14th or 15th century)

"The Grimoire of Armadel" (17th century)

"Rosemary's Baby" (1968)

"The Craft" (1996)

"Harry Potter and the Philosopher's Stone" (2001)

"Harry Potter and the Half-Blood Prince" (2009)

"Buffy the Vampire Slayer" (1997-2003)

"True Blood" (2008-2014)

"American Horror Story: Coven" (2013)

"The Magicians" (2015-2020)

“Supernatural” (2005-2020)

"Dracula" by Bram Stoker (1897)

"The Vampire Chronicles" by Anne Rice (1976 onwards)

"Harry Potter" series by J.K. Rowling (1997-2007)

"Twilight" series by Stephenie Meyer (2005-2008)

While some of these pieces of media do not directly promote the idea of literal bloodletting or the direct concept of magical strengthening through blood, their depiction and influence in later media does.

Process

The amount of blood required in blood magic rituals varies significantly depending on the specific tradition and the purpose of the ritual. Generally, only a minimal amount is used, symbolizing the essence of life rather than its physical manifestation. This minimalism underscores the principle that the power of blood magic lies not in the quantity of blood, but in the act of offering and the symbolic gesture it represents.

In most practices, a few drops of blood are deemed sufficient. This small quantity is often enough to establish the connection or achieve the desired outcome without causing harm to the practitioner. Overuse of blood is generally avoided, as it is not the volume but the act of offering that holds significance. This approach reflects a deep respect for the body and its life-giving essence, ensuring that the practice remains sustainable and safe.

Obtaining blood for these rituals must be approached with care and reverence. The method of extraction should prioritize the well-being of the practitioner or the source, emphasizing minimal harm and ethical considerations. 

Self-pricking with a sterilized needle or lancet is a common method. This technique ensures that only a small amount of blood is drawn, usually from the fingertip. The use of sterilized instruments is crucial to prevent infection and maintain hygiene. The act of self-pricking is often performed as part of a ritualistic process, with practitioners mentally preparing themselves and ensuring a clean environment.

In rare instances, some practitioners may opt for menstrual blood, which is seen as a natural and potent symbol of life and fertility. The use of menstrual blood is often considered deeply personal and is typically reserved for specific rituals related to fertility, protection, or transformation. 

In some traditions no bloodletting is required. Some of the most prominent traditions that use internal blood magic are Traditional Chinese Medicine and Ayurvedic Medicine. These traditions employ methods that emphasize the internal circulation and quality of blood as integral to health, vitality, and spiritual balance.

Traditional Chinese Medicine (TCM)*:

Within Traditional Chinese Medicine, blood holds a vital role alongside Qi (life energy) as one of the body's fundamental substances. Blood, known as "Xue," is considered essential for nourishing the organs and tissues, promoting growth, and maintaining overall vitality. Unlike external applications or rituals involving blood, TCM focuses on cultivating and balancing the body's internal blood through herbal medicine, acupuncture, and dietary therapy. Practitioners diagnose imbalances in blood quality and circulation based on symptoms such as pale complexion, menstrual irregularities, or insomnia, and tailor treatments to restore harmony within the body's systems.

Ayurvedic Medicine*:

In Ayurveda, the traditional medicine system of India, blood (Rakta) is regarded as crucial for maintaining overall health and vitality. Ayurvedic texts emphasize the importance of balanced blood circulation and purity to prevent disease and promote longevity. Practices such as Panchakarma treatments aim to cleanse and rejuvenate the blood through herbal therapies, dietary adjustments, and lifestyle modifications. Unlike external applications or ritualistic uses, Ayurvedic medicine focuses on enhancing the body's internal mechanisms to optimize blood quality and circulation. By restoring balance to the doshas (body types), Ayurvedic practitioners aim to harmonize physical health, mental clarity, and spiritual well-being.

Across these traditions, the approach to blood magic diverges from external ritualistic practices commonly associated with Western occultism. Instead, they emphasize internal cultivation, balance, and harmony within the body's natural processes. By focusing on enhancing the quality and circulation of blood through holistic methods, practitioners seek to promote holistic health, longevity, and spiritual well-being without the need for external bloodletting or ritualistic practices seen in other magical traditions.

Physical Applications of Blood in Use of Magic

The physical applications of blood in these practices are varied, each carrying distinct symbolic meanings and ritualistic purposes. Blood is often used to anoint objects, spaces, or individuals, thereby consecrating and imbuing them with specific properties. So long as blood is applied to archival materials and kept in a cool, dry, sterile, and dark place with little to no air circulation the DNA which makes up the taglock can remain intact for up to 500 years. However, luminal, microbial, fungal, and or chemical interactions may cause DNA to degrade in as little as a few days.

Anointing Objects: Blood is frequently applied to ritual tools, such as athames, wands, or talismans, to consecrate them and enhance their efficacy. This act is believed to imbue the object with the life force of the practitioner, creating a powerful link between the tool and the user. The anointing process is typically done with great care, often accompanied by sigils, chants, or prayers to invoke the desired energies. Anointing is most potent when used on absorbent materials such as cloth or paper. This is due to the blood, which acts as a dynamic taglock, becoming trapped within fibers. 

Marking Spaces: Blood can be used to mark ritual spaces or boundaries, creating a sacred and protected area for the practitioner to work within. This marking might involve drawing symbols or lines with the blood, establishing a physical and energetic barrier against negative influences. The creation of these sacred spaces is an integral part of many blood magic rituals, providing a contained environment for the practitioner's work.

Healing Rituals: In healing practices, blood may be applied to the body to promote recovery and balance. This application is usually symbolic, representing the infusion of life force into the afflicted area (So long as it is not an open wound). The blood is often applied with the fingertips, accompanied by specific incantations or prayers to enhance the healing process. The focus is on the symbolic gesture rather than the physical quantity of blood used.

Offerings to Deities or Spirits: Blood can also be offered to deities or spirits as a form of devotion and reverence. This offering is typically done by placing a few drops of blood on an altar or in a sacred space designated for the deity or spirit. The act of offering blood is seen as a profound gesture, symbolizing the practitioner's dedication and connection to the divine or spiritual forces.

Safety

The practice of blood magic, while rooted in tradition and symbolism, requires a conscientious approach to safety, even within very simple workings. Ensuring safe practices is paramount, as the involvement of blood inherently carries risks, particularly concerning hygiene and infection. This section provides a comprehensive guide to maintaining safety, highlighting practices to avoid, methods for preventing infections, and essential steps for cleanup and disposal. The risk of spreading disease through blood biological waste is a significant concern due to the potential presence of bloodborne pathogens. These pathogens, which include viruses such as HIV, hepatitis B, and hepatitis C, can survive in blood and other bodily fluids, posing a health risk to sanitation workers. When blood or biological waste is improperly handled or disposed of, these pathogens can be transmitted through direct contact with contaminated materials. This transmission can occur through needlesticks, cuts, or mucous membrane exposure, leading to serious infections. Additionally, pathogens can be aerosolized during certain procedures, increasing the risk of inhalation. Therefore, stringent protocols for handling, sterilizing, and disposing of blood and biological waste are essential. The use of puncture-proof and leak-proof sharps containers for needles and other sharp objects is crucial to prevent accidental injuries and subsequent infections. Furthermore, all contaminated materials should be disposed of in designated biohazard containers, which are then collected and treated by specialized waste management services to neutralize any pathogens. Adherence to these practices not only protects workers and practitioners alike but also prevents the potential spread of infectious diseases to the wider community.

Practices to Avoid

Certain practices in blood magic should be strictly avoided to mitigate risks and uphold ethical standards. Understanding these practices is crucial for any practitioner who wishes to engage in blood magic responsibly.

Excessive Bloodletting: One of the most critical practices to avoid is excessive bloodletting. The use of large quantities of blood is not only unnecessary but also dangerous. Blood magic typically requires only a minimal amount of blood—often just a single small drop. Overextending oneself by drawing significant amounts can lead to serious health complications, including anemia, dizziness, and, in severe cases, shock or death.

Using Unsterilized Instruments: Another hazardous practice is the use of unsterilized instruments to extract blood. Employing non-sterile needles, lancets, or other sharp objects increases the risk of infections and diseases. Practitioners must ensure that all tools used in blood extraction are properly sterilized and handled with care.

Self-Harm and Harm to Others: Blood magic should never involve self-harm or harm to others. The practice must be conducted in a manner that respects the well-being and dignity of all involved. Self-inflicted wounds or drawing blood from others without their consent and comfort are unethical and dangerous practices that must be avoided.

Sharing Blood: Sharing blood between individuals is a practice that carries significant health risks. Bloodborne pathogens can be transmitted through shared blood, leading to serious infections and diseases such as HIV, hepatitis B, and hepatitis C. Practitioners should never share blood or engage in rituals that involve the mingling of blood from multiple individuals.

Preventing Infections

Preventing infections is a primary concern when working with blood. Proper hygiene and careful handling of blood and instruments are essential to minimize the risk of infection.

Sterilization of Tools: All tools used for blood extraction, such as needles or lancets, must be sterilized before use. This can be achieved using medical-grade sterilization techniques, such as autoclaving or using single-use, pre-sterilized instruments. If reusable instruments are employed, they should be thoroughly cleaned and disinfected after each use.

Hand Hygiene: Practitioners should practice meticulous hand hygiene before and after handling blood. Washing hands with soap and water for at least 20 seconds is essential. If soap and water are not available, an alcohol-based hand sanitizer can be used as an alternative.

Use of Gloves: Wearing disposable gloves during the extraction and handling of blood can provide an additional layer of protection. Gloves should be disposed of immediately after use, and hands should be washed again to ensure complete hygiene.

Disinfecting the Extraction Site: The area of the body from which blood will be drawn should be disinfected with an antiseptic solution, such as alcohol or iodine, before extraction. This reduces the risk of introducing pathogens into the body through the puncture site.

Proper Wound Care: After the blood has been drawn, the puncture site should be properly cared for to prevent infection. This involves applying an antiseptic and covering the wound with a sterile bandage. The area should be monitored for signs of infection, such as redness, swelling, or discharge.

Cleanup & First Aid

Thorough cleanup and first aid procedures are essential components of safe blood magic practices. Proper cleanup ensures that the ritual space remains hygienic and free from contamination, while first aid addresses any injuries that may occur.

The use of a sharps container is critical for safely disposing of items that can puncture the skin and are contaminated with unsterilized biological materials. These containers are biohazard-marked, solid-walled, puncture-proof, and leak-proof on the sides and bottom.

Sharps Disposal:

Examples of Sharps: Needles, lancets, scalpels, knives, razor blades, glass slides, glass Pasteur pipettes, biologically-contaminated broken glass, and all sharps-associated medical devices such as syringes

Collection and Storage:

Immediately place all sharps into a designated sharps container after use. Use containers specifically designed for sharps disposal; avoid cardboard or repurposed containers. Ensure the sharps container lid has a restricted access opening and is fully closed when not in use. Store the container upright to prevent spills or contamination. You can obtain a sharps container from most pharmacies for free or for a low cost.

Treatment and Disposal:

Close the sharps container permanently when it is three-quarters full or when objects no longer fall freely into it. Do not force items into the container or shake it to make more space. Place full containers in designated biohazards waste pickup areas. Many pharmacies accept biological and sharps waste for disposal.

Liquid Biohazardous Waste:

Description and Examples: Includes bulk biological liquids like culture media and pooled clinical specimen liquids.

Collection and Storage:

Label collection vessels with biohazard symbols and the disinfectant used. Use non-breakable containers whenever possible. Store vacuum flasks in leak-proof secondary containers when not in biosafety cabinets (BSC).

First Aid Procedures

Treating Minor Wounds: If a minor wound occurs during the ritual, clean it immediately with soap and water. Apply an antiseptic and cover the wound with a sterile bandage. Keep the wound clean and dry, changing the bandage daily or if it becomes wet or dirty.

Addressing Severe Injuries: For severe injuries, such as deep cuts or heavy bleeding, seek immediate medical attention. Apply pressure to the wound to control bleeding while waiting for medical assistance. Remain calm and act swiftly to ensure proper care.

Monitoring for Signs of Infection: After any blood extraction or injury, monitor the wound for signs of infection, including increased redness, swelling, warmth, pain, or discharge. Seek medical advice promptly if any of these symptoms occur.

By adhering to these safety practices, practitioners of blood magic can mitigate risks and ensure that their rituals are conducted in a responsible and respectful manner. Emphasizing the importance of hygiene, proper tool use, and ethical considerations not only preserves the integrity of the practice but also safeguards the health and well-being of all involved.

Blood magic, with its deep-seated symbolism and intricate rituals, can sometimes require the practitioner to reverse or nullify the effects of a previously cast spell. Unbinding, or the process of undoing blood magic, is a crucial skill that ensures the practitioner retains control over their craft and can correct or withdraw magical influences when necessary. This section delves into scenarios where unbinding is beneficial and outlines the methodologies to effectively achieve it.

The following are some helpful resources about safety and clean up:

Basic First Aid

Sharps Disposal

Infected Wound Treatment

Counteracting, Unbinding, and Undoing Blood Magic

Blood magic can sometimes require the practitioner to reverse or nullify the effects of a previously cast spell. The process of undoing blood magic is a crucial skill that ensures the practitioner retains control over their craft and can correct or withdraw magical influences when necessary. When might undoing blood magic be a good idea?

Unintended Consequences: Despite meticulous planning, blood magic can sometimes yield unforeseen results. These unintended outcomes might stem from miscalculation, misinterpretation of the ritual's requirements, or external influences altering the spell's impact. In such instances, unbinding becomes necessary to mitigate any negative repercussions.

Changing Circumstances: Life is inherently dynamic, and circumstances that once justified a blood magic ritual may evolve, rendering the spell obsolete or even counterproductive. For example, a spell cast to protect a relationship may need to be undone if the relationship ends or transforms, ensuring that the energies involved do not cause harm or unnecessary entanglement.

Ethical Considerations: The ethical landscape of magic is complex, and practitioners may find themselves needing to unbind spells that no longer align with their moral compass. If a spell was cast under conditions or motivations that are later regretted, unbinding serves as a means of rectifying past actions.

Interference with Other Work: Multiple magical workings can sometimes interfere with one another, particularly if their purposes are not harmonious. In such cases, unbinding one or more spells can clarify the practitioner's magical landscape, allowing for more effective and focused rituals.

Psychological Relief: The psychological burden of knowing a blood magic spell is active can be significant. If a practitioner feels uneasy or haunted by a ritual, unbinding the spell can provide peace of mind, alleviating stress and restoring a sense of control.

How to Unbind

Unbinding a blood magic spell is a deliberate and structured process, requiring precision and respect for the energies involved. The following steps outline a general methodology for unbinding:

Reflection and Assessment: Before initiating the unbinding process, the practitioner must engage in thorough reflection and assessment of the original spell. This involves understanding the components, energies, and symbols used, as well as the specific outcomes achieved. Such introspection helps in crafting an effective unbinding strategy. Keeping a spell log will be invaluable for this purpose.

Cleansing the Space: Preparing the physical and ambient energetic space is crucial. This typically involves cleansing the area with purifying agents such as salt, sage, or other herbs known for their purifying properties, and energy work. The goal is to create a neutral and protected environment for the unbinding ritual.

Gathering Materials: An unbinding ritual may benefit from specific materials, which may include items used in the original spell (if available), purification substances, and tools for ritual work such as candles, incense, and a ceremonial knife. The precise materials will depend on the nature of the original spell and the practitioner's tradition. One component that will be absolutely necessary is the spell’s anchor.

Symbolic Acts of Neutralization: Symbolic acts can play a significant role in unbinding. This could involve burying, burning, or immersing objects used in the original spell in running water, symbolically returning the energies to the earth or cleansing them entirely. The act chosen should align with the practitioner's symbolic framework and the nature of the spell being undone.

Offering and Atonement: To maintain balance and respect for the forces involved, the practitioner may include an offering or act of atonement as part of the unbinding ritual. This could be a simple act of gratitude, a small gift to the natural world, or a gesture of goodwill that seeks to harmonize any disrupted energies.

Cleansing or Destroying the Spell Anchor: The original spell anchor, or object(s) that houses the spell must be cleansed energetically, or be entirely destroyed. Energetically cleansing the anchor means to isolate and unravel the energetic construct of the spell which is bound to the anchor. To destroy the anchor means to smash, burn, cut up, or dissolve the object until it is no longer identifiable. If the object is made of metal then it will require energetic dismantling, as not even melting the metal down will break down the spell unless it is diluted in other minerals or metals to a point where it is no longer chemically similar.

Sealing the Unbinding: Once the reversal actions are completed, sealing the unbinding can be used to ensure the spell's effects do not linger. This might involve the creation of a talisman, seal, or sigil which is then applied to the outside of the container holding the remnants of the original anchor. 

Post-Ritual Reflection: After the unbinding ritual, the practitioner should take time for reflection and grounding. This allows for the assimilation of any residual internal energies and provides an opportunity to assess the effectiveness of the unbinding. Meditation, divination, journaling, or simply spending time in nature can help in this process.

Monitoring Outcomes: The practitioner should monitor the outcomes of the unbinding over the following days and weeks. Observing any changes or shifts in circumstances can provide valuable feedback on the success of the unbinding and inform future practices.

Unbinding, like all aspects of blood magic, demands respect, mindfulness, and a deep understanding of the forces at play. By adhering to these structured steps, practitioners can responsibly undo the effects of their spells, ensuring harmony and balance within their magical practice and broader life context.

Alternatives to Blood Magic

For those who skipped the article, here is a diluted TL;DR list of the most important information from it with all potential triggers removed:

BM is binding magic and does not empower or boost a working

A single small pinprick is all that's needed, more than that approaches SH

There exist BM practices that do not require the removal of fluids from the body.

BM, for the most part, is just using a dynamic Taglock.

Safety is paramount

BM can be undone just like any other type of spell

Since BM does not in any way strengthen or empower spell work outside of self-binding, there are many alternatives. Blood within magic acts primarily as a taglock. It is for this reason that it can be replaced by any other taglock in spellcrafting.

Taglocks that can easily replace blood:

Signature: A personal signature is a direct representation of an individual, carrying the unique energy and identity of the person.

Photograph: A photograph captures the essence and image of an individual, making it an effective taglock for personal spells.

Hair: Hair contains DNA and is a physical part of the person, making it a powerful substitute.

Nail clippings: Like hair, nail clippings are part of the individual’s body and contain their DNA, serving as a strong link for spell work.

For BM that used blood as a conduit:

Blood is sometimes believed to act as a conduit in magic due to its life essence and connectivity. This role can be substituted by other substances capable of facilitating energetic transfer.

Light acids such as vinegar: Vinegar is a readily available and safe substitute. Acids can transfer electrons, which can be symbolically or practically useful in spells that require a medium to facilitate a reaction or transformation. Vinegar’s cleansing properties also add a purifying element to spellwork.

For BM for holding space:

When blood is used to hold space or create a sacred boundary, alternative materials can effectively perform this function.

Salt water: Salt water has long been used for purification and protection. Salt's crystalline structure and water's fluid nature make this combination a potent tool for creating sacred space.

Quartz (piezoelectric): Quartz crystals, due to their piezoelectric properties, can generate electrical charges and are excellent for maintaining energetic fields and enhancing spells.

Copper: Copper is a highly conductive metal that can enhance the flow of energy in spellwork. Its properties make it a useful substitute for blood in rituals requiring energy movement or containment.

Talismans/Sigils: These objects or symbols are charged with specific intentions and can effectively hold space or direct energy in spellwork. They can be custom-made to align with the desired outcome of the ritual.

For BM used for offerings to spirits or deities:

Offerings are an integral part of many spiritual practices, intended to honor and appease spirits or deities. Blood, being a potent life force, can be replaced by various other meaningful offerings.

Food and drink: Traditional offerings such as bread, fruit, wine, or other beverages are widely accepted in many spiritual traditions. They symbolize sustenance and respect.

Incense and herbs: Burning incense or herbs can serve as a fragrant offering, with the smoke carrying prayers and intentions to the spiritual realm. Specific herbs can be chosen based on their symbolic meanings and properties.

Flowers: Fresh flowers are often used as offerings due to their beauty, fragrance, and life energy. They can represent growth, renewal, and respect.

Candles: Lighting candles in specific colors can symbolize different aspects of the offering, such as white for purity or red for strength and passion. The flame acts as a beacon or signal to the spiritual entities being honored.

Coins or precious metals: Offering coins or small pieces of precious metals can symbolize wealth and prosperity, showing reverence and gratitude to the spirits or deities.

Personal creations: Handmade items, such as crafted objects, poems, or artworks, can be deeply personal offerings that convey sincerity and dedication. These can be tailored to the preferences and attributes of the deity or spirit being honored. This is the best alternative for BM in this regard.

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[kemacroi]

Ancient Amulets and Talismans: The Magical Legacy of Protective and Prosperous Symbols

Exploring the Historical Significance and Modern Interpretations of Greek, Greco-Roman, and Celtic Amulets and Talismans in People Magical Practices and Cultural Beliefs

In recent times, amulets have once again become consumer items. I say "once again" because the sale of amulets spans thousands of years. However, unlike in previous centuries, they have lost their sacred character. Since people sometimes ask me for a "prosperity amulet"—having seen them for sale elsewhere—I believe it's an excellent opportunity to discuss the topic.

Left: Photo of Dr. John Dee's Black Obsidian Scrying Mirror on Display at the British Museum; Right: On the left, a marble herma with the head of Hermes and an erect phallus on the front of the pillar; above, a Roman tintinnabulum with a hybrid shape of an erect phallus and lion; below, a wappenmünzen with Medusa's effigy; to the right, a lar or Roman representation of the family spirit protector of the home holding a cornucopia.

Surprisingly, I agree with the definition of amulets, except for the "supernatural effects" attributed to them. We attribute certain powers or qualities to the natural world, and all objects from the natural world share the same symbolism, being associated with the culture we belong to and our personal and family beliefs.

In magical arts, there are two distinct types of these magical objects: amulets and talismans. To simplify, amulets are designed to ward off negativity, while talismans attract all kinds of fortunes. They are two sides of the same coin but are not the same. Ancient amulets require a broader explanation—I'll touch on that towards the end—but for practical purposes, the operative definition in the context of current magic is that amulets repel and talismans attract.

To acquire its power, this magical object requires four complementary actions:

Apotropaic: This is the most popular type and does not require formal magical knowledge. For example, a stone naturally holed by erosion. The powers considered are part of the culture, like believing in the protection of a St. Christopher medallion, which can have apotropaic qualities either inherently (animism) or by being "blessed" by a priest.

Liturgical: This involves sanctifying the object through religious rites, invoking the power of entities, gods, or spirits. An example is the aforementioned blessing of the St. Christopher medallion, where the priest acts as an intermediary and channel for the saint's power.

Energetic: Known as "charging" or "energizing," this action seeks to multiply the amulet's power. This does not necessarily involve a religious ritual. For example, leaving a stone exposed overnight to moonlight to "charge" it.

Sympathetic: This transfers the symbolic to reality through signs, words, the addition of objects, or spells. For example, engraving a talisman with the image of a desired book to attract that book, representing the desired object and making it appear in the material world.

Some details: If you buy an amulet because someone told you it's protective, you're trusting the seller's word, not the amulet's properties. If you value the seller's word—as some do with a priest—then you indeed have a powerful object. You can also buy a personalized amulet and "charge" it yourself, but you'd be purchasing the container of power, not the amulet itself. If you learned as a child that a horseshoe above the door brings good luck, then go ahead, because your subconscious likely considers that horseshoe very protective.

For millennia, writing was considered a magical art. The privileged classes guarded it zealously, believing that certain symbols possessed inherent magical powers. This tradition persists even in modern movies, where we see Count Dracula writhing in pain at the sight of a cross. This is the animistic theory of talismans’ operation, prevalent in popular and pagan witchcraft, both ancient and modern.

Today, many magicians reject this theory in favor of the energetic theory of talismans’ operation. They consider the most important thing is to charge the talisman or amulet, that is, to introduce magical energy into the chosen object to make it powerful. The time spent carefully drawing specific symbols on the object is an effective way to create and transmit energy. Adding this energy to the one generated and directed by the magician during the charging ritual explains why this magical technique is so powerful. However, no method—be it Witchcraft or Ritual Magick—is superior to another.

Stones for Making Amulets and Talismans

In historical families of the Celtic areas of the British Isles, the tradition of attributing powers to certain stones has a long history. The most famous of this legacy is the Lee Penny, belonging to the ancient Scottish family of Lockhart. This red stone, set in a silver coin, was believed to have powers to heal cattle: the magical technique involved immersing the stone in water and giving this water to the sick cattle. Sometimes, the distinguished family lent or rented the stone to others with cattle, representing a shared belief and magical practice by a community.

Astrological guardianship is crucial to determining the virtues of stones. Most modern lists of zodiac stones or "sign stones" are purely marketing; though beautiful, wearing the wrong stone has no significant magical effect unless you believe in it wholeheartedly (not the seller). However, some lists of stones and their astrological correspondences have ancient consolidation, like the one mentioned in the Bible about the High Priest of Israel's breastplate (Exodus 28:15-21). Historian Flavius Josephus says the stones on the breastplate symbolize the twelve months and the twelve zodiac signs, with the two large stones representing the Moon and the Sun. The current custom of wearing sign stones originated in the 16th century in Poland, among the Jewish jeweler guild interested in the breastplate's mysticism. Nonetheless, the astrological and planetary correspondences do not match the instructions for the stones we can buy today in the Jewish Quarter or any fair ( here you can read the History, magical uses, and spiritual meanings of precious and semi-precious stones).

Due to its color, one of the most magically charged stones is obsidian—less so, onyx—as it is believed to have trapped the very night. The magical mirror of Elizabethan astrologer Dr. John Dee, to whom we owe powerful Enochian magic, was made of polished obsidian.

If you're looking for a universal talisman or amulet but have a limited budget and do not trust the seller's knowledge, the mineral with which we can all symbolically associate attraction and repulsion is the old and beloved magnet. Magically, it is associated with attraction, but it can be used both to attract and repel, especially if combined with the symbolism of the metal it attracts, iron, representing Mars and Aries.

With the right moon, the right day, a spell written by you, and a good magnet, you will have a much more effective talisman than any piece bought in Villa Biarritz market.

Greek and Greco-Roman Amulets and Talismans

In ancient Greece, the most commonly used apotropaic symbols were the eye, the gorgoneion, and the genitals. These symbols were used in various ways. For example, some Greek kylikes were decorated with two large eyes so that when brought to the lips to drink, the face was completely covered by the cup: the person facing the drinker only saw, as if it were a mask, two intimidating fixed eyes. The eyes served as protection against critics and the evil eye, and also allowed the drinker to cast a glance at the guests, giving them the unsettling sensation of being constantly watched. The function of decorated kylikes was to give the illusion of control over one’s destiny and the destiny of others. To protect against enemy attacks and deceive death, the eye was also present in contexts like the Pyrrhic dance and in war weapons, generally represented on shields.

Apart from the eyes, the gorgoneion (or gorgonian) was also depicted on the shields of Athenian soldiers, as Perseus was a favorite of the goddess Athena. The gorgoneion is nothing more than the head of Medusa, the gorgon well-known for her ability to petrify anyone who dared to look into her eyes. Other attributes include the snakes for hair and the boar's tusks for teeth. A more recent interpretation of the myth shows empathy for Medusa because her head was severed by Perseus. However, unlike, for example, Ariadne, Medusa is not a mythical woman but a terrible monster, the embodiment of Death before whom we are all defenseless. (If you want to know my stance on the reinterpretation of myths, you can read the entry about Lilith)

Finally, the erect phallus was present in many iconographic contexts. Depending on the scenes, phallic representations could be simple erotic decorations, symbols of apotropaic objects, or serve to attract fertility and fecundity, similar to the cornucopia or horn of plenty. For instance, some scenes with an erect phallus were placed at crossroads and property boundaries; along with the phallus, a rudimentary bust was generally sculpted in stone. This stone was called herma, originally representing the god Hermes, protector of travelers and merchants, psychopomp and lord of the roads. Sometimes, this hermetic pillar was depicted in skyphos along with the caduceus, also an attribute of Hermes. Other examples include kantharoi with representations of satyrs with an erect phallus, illuminating maenads who carry the thyrsus in the retinue of Dionysus.

In Roman times, the preferred object to ward off evil influences was a kind of rattle usually placed on the doors and thresholds of houses. One of the most beautiful examples was found in Pompeii and features five phalli arranged like horns. Astragali and protective hand figures were also popular, as were the gorgoneion and cornucopias—whose origin lies in the goat Amalthea who nursed Zeus—as an attribute of the goddess Fortuna. Mercury's tintinnabula, which had the apotropaic function granted by the phallic rays emanating from the god's head, were also fashionable. This type of tintinnabulum is fascinating because it simultaneously served to protect and attract luck and fortune with the bag of coins Mercury held in his hand.

Tarot by Kema

Montevideo

[asharaks]

solas in DAI part 2 (the game)

read part one here!

so the vision for solas in DAI is, first of all, to bring his design closer to his concept art. while he carries himself the same (hunched, head down, making himself smaller), he’s a visibly brown man with a strong, slightly hooked nose and dark eyes. he is still masquerading as a humble elven apostate and still, absolutely, planning to tear the world apart, and completely willing to accept the deaths of millions as a consequence of his plan to tear down the Veil, but his motivations are no longer tied to a belief in the lack of sapience or personhood (for lack of a better term) of qunari, dwarves and even humans. instead, he is trying to stave off disaster: reinforcing the crumbling prison he’s locked his blighted peers away in as the blight eats them alive. they’re growing stronger, and more dangerous, in their agony, as the blight robs them too of the capacity for higher thought with which they were imbued as protector spirits, and solas has neither the heart to try to kill them and end their suffering nor the courage to risk attempting to cure them of blight, of which he is mortally afraid. similar to ‘actual’ DAI solas, he mirrors the inquisitor’s attitude towards him (which can be seen in his interactions with other companions, too), responding with suspicion and antagonism to an antagonistic inquisitor and open humility and generosity to a friendlier one, however, throughout the game he occasionally ‘tests’ the inquisitor through attempts at manipulation and leading questions/statements, and the inquisitor’s response determines his respect for them overall. he also still shows flashes of his former role as mythal’s capable lieutenant in times of urgent stress, assuming command decisively and with charisma that he doesn’t otherwise display. 

gone is his surprise at the individuality of qunari and dwarven players; and while he remains occasionally dismissive of elven culture (both city- and dalish), as the game progresses, it becomes increasingly apparent that this disregard is an expression of the guilt and responsibility he feels, seeing in them everything he has taken from them and everything he feels he is responsible for diminishing them to. the suffering of his people, per solas, is his fault, though he will not state this directly: the loss of immortality, the loss of the old magic and the incredible accomplishments, the loss of land and freedom; perhaps patronisingly, solas sees all of this as the inevitable consequence of his own failure, and at least at first struggles to see past this in his interactions with modern elven culture. 

though solas remains fully romanceable only by elves, as he is a character fixated on the plight of his own people, he can be romanced by lavellans of any gender, and flirt options for a ‘partial’ romance or a charged dynamic are available to all inquisitors; lavellan is his connection back to his own people, but all inquisitors are representations of his own failures and the increasingly steep price he pays to correct them to him, and accordingly he can become entangled (not necessarily healthy) with any version of them. he also maintains contentious relationships with the primary cast; he struggles with sera in particular, as an elf taught to hate elves and being elven through abuse and bigotry, his antagonism with her is laced with both condescension and self-recrimination, while, for example, he is much less affected (and even at times amused) by cassandra’s distrust. among the inquisition, he can grow to respect, among others, vivienne (disagreements with whom reliably make him angry as he sees himself as indisputably correct and her as someone more than smart, reasonable and compassionate enough to know better), cole and varric; however, none of these relationships — least of all his relationship with the inquisitor, even lavellan — can turn him off his path. he may care for them (may love lavellan in particular, who can push back on him significantly without sacrificing the romance), but until the plans he’s putting into motions fail, he simply can’t be brought to consider that he may be wrong, and the question lingers of just how capable he is of seeing even a romanced inquisitor as an individual person rather than as a personification of his mistakes. It’s only in Veilguard, trapped in the fade and able to interact with the world only through the medium of rook, that he can be effectively reasoned with. 

instead of having this final confrontation confined to a DLC, solas is brought into the main game as its final villain, with a corypheus figure (not corypheus. something hawke didn’t defeat with three disastrous friends and a prayer) as the ‘middle’ antagonist. the game ends on the loss of the inquisitor’s hand and solas’s disappearance in the midst of the culmination of the inquisitor’s influence on thedas (choice of divine, wardens, mage rebellion, disbanding the inquisition or not, etc).

(previous - solas in DAI part one)

[lailoken]

What are your favorite pieces of media that you think accurately represent magic and spirit work? Movies, books, even music..

This is an interesting question, but one that requires a lot of thought, as I have read and watched an inordinate amount of books and movies. Plus, even really good fiction with pagan themes that I've read/watched is generally inaccurate in most ways, with some realistic aspects of magic woven in here and there. Some of my very favorite media relating to the subject can't really be included, simply because of how inaccurate it is overall, but there are a few that have caught my notice.

I'm sure I'll end up missing ones, which bugs me, but I'll do my best to recount some examples that I can think of:

The Love Witch (2016) is a movie that I think presents a strikingly realistic portrayal of what magic can look like. It manages to show some of the ways one might use magic to great effect, without actually skewing into fantasy at all. Clearly, the magic shown isn't going to line up with every paradigm, and its not exactly a heady or spirit-based story, but I think it's a very real look at how ritual and magic is/can be approached by many folks in the modern day.

The Witch (2015) is, above all else, a great slow-burn horror film and an excellent period-piece. However, it also portrays quite an accurate conception of folkloric beliefs about Witchcraft in the 17th century, which inexorably inform the realities of modern Witchcraft traditions. It does just barely skew into fantasy horror, but the actual folkloric information being presented is quite sound.

A Dark Song (2016) is a film that portrays ceremonial magic realistically in many ways. Ultimately, it is still a supernatural horror film, but the bulk of the magic in the movie is based directly on the Abramelin Operation, which was interesting to see. A lot of the ways that the magic "takes shape" in the film feels real enough to me, too (though it certainly takes it to extremes at points, as horror movies are wont to do).

We Have Always Lived in the Castle by Shirley Jackson is a horror novel I much enjoyed when I read it a coulple years ago, but I also remember that it happens to contain small, but meaningful, instances of sympathetic magic within the story that I appreciated as a practitioner looking in. This one has been made into a movie as well.

Cunning Folk by Adam Nevill is one of the more realistic looks at magic—including the uncanny side of it—that I've come across. It's still definitely a horror story, first and foremost, but there's an oomph to the ritual and magic described therein that a lot of other similar fiction lacks—even when the ritual act being described isn't necessarily accurate in terms of historicality or my personal experience of the Craft.

The White People by Arthur Machen is a Welsh short horror story from the turn of the century, which I think is worth including here. There are elements and aspects of the story that feel surprisingly real in terms of Gloaming initiation and the Gloaming Spirits—though, of course, it takes creative liberties informed by the paranormal beliefs and trends of the time (1890s).

The Craft (1996) is a movie that I'm sure a lot of pagans have of nostalgia for in one way or another, myself included. I struggled with whether this movie should be here or in the Honorable Mention section, but I included it here in the end because a lot of the ways magic and ritual are presented in the film are accurate enough. I also think it did a fairly good job of capturing how it can feel to discover, revel in, and then become overwhelmed by magic. However, since it is a supernatural horror film, a lot of magic shown is portrayed more fantastically than the real thing, and there are aspects of the magic (rituals, entities, etc.) made up entirely for the sake of the story.

As implied above, there are also some pieces that, while largely inaccurate or too far into the realm of fantasy, still manage to succesfully capture some essence of realistic feeling magic in them. I will list those here as Honorable Mentions:

Practical Magic (1998) is another movie that I'm sure a lot of Pagans have nostalgia for in some way or another. I won't claim that it's a genuinely "accurate" representation of magic—and it certainly strays into outright fantasy at times—but there are little things throughout the movie that managed to ring a bell for me, as someone who grew up with magic in my family. I know this was originally a book, but I actually haven't read that as of yet, so I can't speak to it.

Pan's Labyrinth (2006) is a movie is squarely in the fantasy-horror genre to me, but even still, I include it here as an honorable mention because a lot of the lore depicted is drawn from real lore, and the overall ambience it manged to evoke strongly reminds me of some of my own experiences with chthonic journeying.

The Good Witch franchise isn't one I have ever actually watched any part of before, but I include it here because, oddly enough, multiple practitioners have mentioned to me that they think the magic is surprisingly realistic for a Hallmark series. As I understand it, the main character is a sort of local Wise Woman who helps the folk in her little town using things like folk-knowledge, remarkable intuition, and an uncanny ability to seemingly sway people and circumstances. Since I haven't seen it myself, my take on it may be somewhat lacking, (which is why I listed it as an honorable mention), but based on the description, it actually sounds like it may be one of the more realistic interpretations of magic on this list.

I know this is a strange addition, as it's not exactly magic, per se, but much of how Stephen King writes about psychic abilities like clairvoyance and healing throughout his works manages to touch on something all too familiar for me. I think, sometimes, that he may have known someone with the Sight and/or the Touch in his real life, as it comes up a lot in one shape or another in his writing.

As I said, I'm sure there's stuff I'm missing, but this at least a serviceable overview. I encourage others to share any other media that they think deserves a mention, too!

[zenithabovemarshland]

Thoughts about Leo in Leo season...

I get a lot of astrology newsletters, and the theoretical consensus seems to be that Leo season is about passion, boldness, and our big creative dreams. “Magic is in the air.” Yet, when I look around socials and what the poets say about August, we seem to live this time of year like in a sad dream.

This time of year feels a little bittersweet, doesn’t it? Summer vacation is coming to a close, and there’s this urgency to squeeze out all of the last dregs of satisfaction from the sunny evenings, from our bikini bodies, from our vacation days… Even when we aren’t diving into a new school year in the fall anymore, when that part of our lives in long over, we still feel an incoming wave of responsibility and we push away from it. We remember those desperate last days of summer vacation as children. And from there, we remember every other desperate thing we did and felt as children.

Back when I was in school, I treated every new academic year like it was my time to become a new person. It felt easy then to forget every bad habit I had, every very real limiting belief and fear I had about myself, and recklessly invest in the person I wish I was. The commitment never lasted. And every year my back-to-school haul became clutter that reminded me of my failure to change my own life.

---

The Leo Suns that I know put their whole selves on the line in everything they do. From the outside it looks like conviction—an illusion of correctness, even. But inside I think they’re terrified that life is so unforgiving. I think they often reach out for the lifeguard to help them back to shore.

The Leo risings I know seem to be sort of ghostly in how they flex and morph through their lives, despite the fixed-ness of the sign. And ghostly in how they come to latch onto humility to get them through. Maybe even to help them “fit in”.

The Leo Moons I know seem to be mortified by disappointment. When stewed in it they dry out and shrivel up. Saturn wins, and they bury their spirit under a rock.

---

So what does the Sun illuminate for us in Leo season? Unless your Leo house is thriving, which in this society I doubt, I think it illuminates what we’re burying.

“How have we failed ourselves” is not a question that I think the Sun or the Leo house should be asked. I don’t even think the question should be “what do I want to bring into the world”, because Leo comes from a place of what we already have and who we already are.

I think the question should be “What about me do I believe doesn’t fit the space I’m given?”

Self-consciousness is a quality of the Moon, Venus, and Saturn, not the Sun. When we feel self-conscious it’s because of one of those planets, not our Sun. Our Sun describes how to make good decisions that give us a good life, and how we express our good life. The Sun is innately arrogant and self-centered. Our Sun tells others “we should do it this way”. And that’s not necessarily a bad thing. (Collaborating as a skill takes creativity to supernova levels.)

So what are you cramming in the bottom of your backpack? What are you biting down on to keep yourself from doing, saying, telling? When we share the thing we’ve lost, that we’ve bitten off, that we’ve stuffed down, then it’s out there, and the space is already there to accommodate it. You’ll be surprised how easy it is to live in a world that’s altered by what you put into it.

[serpentface]

So how does magic, gods, and other supernatural nonsense work in the new blightseed?

The biggest material difference between this world and our own is an objectively existing parallel plane that leaks into the material plane at certain points and makes the 'laws' of the material plane more malleable where they cross (rift zones). It has many names but 'the Ether' and 'the Dreamlands' is what's used most commonly in my writing.

The Ether has both sentient and non-sentient 'fauna' that frequently cross into the material plane. Most come and go unnoticed, but those that are noticed are highly susceptible to influence by an observer- frequent observation will shape Etheric fauna into fixed forms and ascribe qualities to the fauna that the witness believes it to have. It's sort of an unknowing dream-dreamer relationship.

An Etheric lifeform that is repeatedly observed and becomes culturally established may gradually be shaped into what we would describe as a spirit, supernatural entity, or even a god, and develop some of the reality-altering abilities ascribed to them. (note that this relationship is not even CLOSE to well-known or understood, and tends to be only theorized by devoted scholarly groups or the knowledge of peoples historically living close to rifts).

THAT BEING SAID.....

GODS/RELIGION/THE SUPERNATURAL:

Assume it functions basically the same as real life (with some additional nuances). There is no more of what most would consider 'definitive'/'material' proof of creator deities/the afterlife/etc than there is in real life. Cultural/religious groups see evidence of their gods and other religious elements in the world, but it's nothing ''''solid'''' per-se. (IE you could be an atheist in this setting without anything directly contradicting your beliefs)

However there is the aforementioned etheric fauna that are have functionally been shaped into gods/supernatural entities via observation and belief. Some folkloric entities are material Etheric fauna, but just as many legendary monsters are in the realm of mythology and belief. I'll mostly call deified Etheric fauna 'living gods' which is an in-universe scholarly term in the Great Gate region.

FOR EXAMPLE: the Nekh demigod Hai-Taihe materially exists as an unkillable talking dog with a sword that is physically encountered by travellers, she was once Etheric fauna who has been shaped into a living god through over a thousand years of belief and veneration. The Nekh 'river queen' spirits said to haunt fishermen, (depicted as gigantic river kings with female elowey attributes) are widely believed in and encounters are claimed, but there is not necessarily a physical entity running around with those characteristics (who knows, though?).

Magic:

Magic DOES materially exist, but it's incredibly subtle and there is no clear and objective line between folk belief/witchcraft and 'actual magic', no single in-universe word to describe the phenomena, and no one in-universe can make definitive factual statements on how exactly it works, what powers it, where it comes from, etc.

Observations made through rigorous magical scholarship tends to connect magic with the Ether (as its effects are strengthened in rift zones) and identify magic as will made material, influencing possible physical outcomes by concentrated willpower. A person can influence a moving ball to roll off a table more easily than to influence a motionless ball into rolling. It's effects can be strengthened through practices affecting consciousness such as psychoactive substance usage, meditation, oxygen deprivation, heightened emotional states, dreaming, etc.

Any sophont is capable of magic, but the degree of practice and mental control required to generate practical results makes its usage relatively insignificant in the grand cultural schema, and has had fairly minimal impact on the technologies of this setting. And as in real life, forms of magic/witchcraft/rituals etc are practiced without necessarily generating any unambiguous material effects (while still being believed effective).

There is absolutely nothing inherent to sophonts that allows for their magic usage, it's just that animals who do not have abstract cognitive abilities typically cannot work magic by the nature of it needing abstract cognition to work. (there are a few exceptions with non-sentient animals who have, via natural selection, developed highly specific forms of magic (usually used for predator evasion))

[janus-cadet]

New tarot card! This time, it's for a show that just reached 17 seasons, if you can believe that- Murdoch Mysteries!

And here is Llewellyn Watts, as the Page of Wands.

Now- the obligatory explanation (in broken english, yay, how lucky!) for those who are interested!

Upright, this card is the symbol of a free spirit, guided by their inspirations and ideas. I do feel like it fits our one and only Watts- never really fitting the mould of societal conveniences, but always following his inner self. It's also a card for limitless potential, often in the form of creative restlessness, which again- he does have, and the show should ~really~ explore that more. Overall, it means you embrace the opportunity to start out a new journey, without necessarily having a solid plan in place or even knowing where you are headed- but you are excited and intrigued about the possibilities. For a character always searching for himself, well-

All of that, with the advice to try and filter your thoughts, sometimes. Especially when you're talking. Even if we all love Detective Your-Wife-Is-Not-Pretty Watts.

Reversed, the card can mean that the consultant is being held back by limiting beliefs- such as, well, for Watts, the rules of the society he lives in. Which is why the card is ponctuated with references to current or future instance of homophobia and antisemitism in Canada. On the other side, Llewellyn can also represent (as would William and many other characters of the show!) someone carrying newly-formed ideas, that can have been tampered by obstacles and opposition. The card can also mean that you tried many new projects, which did not worked as you had hoped... and isn't that the story of his life?

Overall, this is a card deeply linked with someone engaging or trying to engage in a spiritual journey to discover themself. A free spirit who can't, and who should not submit the the limiting beliefs of the society around.

It was so fun to do, eh! The wand is not really supposed to be a wand, sure, but I feel like Llewellyn is less a wooden-staff-guy than a magic-wand-guy. And sure, the book on Wine and Philosophy or the Pretzel in the background where not *necessary*, per se, but that's just so- him, and those cards are always about representing the character in the best possible way.

Hope you'll like it!

[magebymoonlight]

Introductions are in order 🕯️

Hi friends! I’m Celeste, and I am a pagan witch. More specifically, I am a practitioner of earth-based and ancestral magic and spirituality, with my beliefs and practices rooted in the northern traditions — those hailing from Scandinavia, Ireland, and the British Isles.

An animistic worldview is the foundation upon which all of my beliefs and practices rest. The land is my church, and spirits of the wild are my teachers and guides. 

I believe all beings are connected by a web of energy, and it is the ability to sense and manipulate this web (often by seeking the aid of other spirits in the form of power) that enables magic to work.

Much of my magical and spiritual work exists within the realm of seidr, a specific flavor of (modern, historically-inspired) Nordic magic that deals with spirit work, divination, and prophecy.

Runic magic also plays a major role in my practice. I am a devotee of Odin and Freyja, who (unsurprisingly!) have been important spiritual teachers and guides for me in my seidr, galdr, and runic magic practices. 

I reside in County Cork, Ireland, having moved here almost three years ago from Austin, Texas. The more time I spend on this land, the more its myths and magic seep into my practice. I am deeply honored to call this land home and to learn from it. 

I’m not necessarily the craftiest of witches; though I do love crafting a physical charm every now and again, most of my magical practice takes place in the shadows and the unseen realms of the Otherworld, the spirit world. 

On a full moon (or perhaps just a random Thursday), you may find me engaging in practices such as

spirit flight (hedge riding)

divination

ritual possession

necromancy

ancestral veneration

sharing offerings with my domestic or local land spirits

or activating sigils or servitors.

That said, when it comes to spellcraft I do have a soft spot for planetary magic, candle spells, witches bottles, and charm bags. 

When I created my Instagram account nearly five years ago, I chose the name “mage by moonlight” because of my deep passion for occult studies and magical practice. As my path winds ever onwards, taking me in various new (at times unexpected) directions, this passion continues to burn as brightly as ever. 

Thanks for being here 🕯️

[randomthefox]

Genuine question but is what sonic and his friend do are chaos related abilities , Innate or magic maybe

You didn't really format this as a question but okay lol

They can just do it because they can. It's like asking how Tails can fly.

The answer is Tails can fly because he just can. He has two tails and he spins them like a propeller and that allows him to fly. It's a cartoon. It works because it does.

This isn't Star Trek. Not everything needs a hard science explanation for how it would realistically function.

If you really "need" an explanation then the answer is the series is Japanese. That sounds like a glib response but it really is just a part of traditional Asian storytelling that people can just do amazing achievements and feats because they trained to be able to do so. It's the same reason even regular human characters like Yamcha and Krillin can fly and shoot energy blasts out of their hands in Dragon Ball.

The belief is that humans have this energy or life force called Chi, the medical practice of acupuncture is based around redirecting the flow of chi in the human body for beneficial effects. Chi just means "air" or "breath" and it's seen as no different from your blood. Blood is the life force of the body, chi is the life force of the spirit, both of which make you human. Wuxia fiction is usually based around the idea that great warriors can become so in touch with their spirit through their practice of Martial Arts that they can cultivate their chi to be capable of performing fantastical feats and abilities.

That's why characters in Asian media can always do crazy shit. Goku can fly and shoot fire balls because of his chi. Kiryu Kazuma radiates with Heat because it's the aura manifesting his chi. Naruto calls it chakra. Demon Slayer drops all pretense and just literally calls their ability system "breathing". But it's all the same thing, it's all chi.

That word "cultivation" is important because that's the critical difference between the idea of "chi" and our more western inclined outlook which might just classify it all as "magic." You might say I'm being semantic and just say chi as it's depicted in fiction is a magic system by any other name. But chi is always depicted as something that needs to be harnessed with PRACTICE and TRAINING. It's an energy that is a part of you, but to be able to use it to do these great things you need to put in effort and attend the school of hard knocks. It requires discipline and diligence and dedication to your craft. It has to be EARNED. It's taking coal and turning it into a diamond. It's taking hard iron ore and crafting it into a useful tool.

The Sonic characters are the same way. It's not "magic" or an "energy of chaos" that they have been blessed with by outside factors. And it's not necessarily an "innate" ability either, since they weren't born with it like super powers. It's something they had to cultivate and develop over time. They have to train and improve themselves to be capable of achieving these things. They grow and improve as people and their capacity for their physical abilities grows in tandem with them. You might say there's no reason to assume Sonic characters have chi because it's never mentioned, but that's like saying Sonic characters must not have blood because it's never mentioned. We can assume that Sonic characters have chi just like we assume they have blood. It's just an assumed default of Asian culture that chi is a given that goes without saying.

Going back to Tails' ability to fly: it is demonstrated in Sonic Origins that Tails did not come out of the box with the ability to fly. He had to LEARN HOW to fly, by pushing himself to his limits and breaking those limits and going beyond what he was ever capable of before because he was inspired by Sonic's example.

Tails can't fly BECAUSE he has two tails. His two tails are what he uses to fly, which he learned how to do by cultivating his spirit to break his boundaries and become a better more capable person. Every other character functions the same way, they can do these great things because they push themselves to improve and become greater than they were before through sharpening themselves against the grindstone that is the adventure of life.

And this is something anybody is capable of.

If that makes sense.

So yeah, either one of those two things. Whichever explanation works better for you.

[divine-crows]

Grimoire/Bos Prompts or Research Topics for the Witch that Doesn’t Know What To Do Next

(Pt. 1/ ?) 

Okay so, I've been working on gathering information for a couple of years now. (On and off for 4 years probably a little less because I procrastinate), and just now I've gotten an official book to put all of my information in since prior to that I just had loose leafs of paper that I'd stash away at random, and google docs filled with information (which I recommend. It helped me let go of the stress of messing up and helps when you need to edit and add information. I still use my doc as a way to add stuff and as an on-the-go grimoire).

I've practically stuffed this grimoire with everything I've gathered and refined, and this has lead me to reach an impasse where I don't quite know what to do next. Not a lot of BoS or Grimoire prompts are geared towards people that have the basics written down, but don’t know what to do next, so I'll make a short list of stuff I've brainstormed.

Note: These prompts aren't all going to be specific things to do research on, a lot of it is inspired by Molly Roberts on YouTube because I love prompts and ideas that may not be necessarily witchy, but can be when in the context of where it is. These prompts and research topics also are not mine by any means and I’ll reiterate it often because I want people to make these ideas their own. 

- What being a witch means to you. This can include why you decided to use witch as a label for yourself, your specific practice, why you got into it, how it affects your life and it's importance, etc.

- how your religion (or if non-religious, any of your beliefs or theories you support) works alongside your craft. Do you feel a need to separate the two? Do you treat them like they're always together? Are there any specific scenarios where you use the two hand-in-hand? Talk about it.

- Entity and/or spirit Guide! Make a section dedicated to entities and spirits in your area, how you (or others) found them, if you think you know what/who they are, or if you aren't sure what it could be. This can open up great opportunities for you to study new things. I myself have been planning on doing it since my town has a lot of ghosts, and I've had plenty of interactions with entities that I don't know of (ex. some seem like the fair folk, but due to the origins of people that lived in my town it's unlikely, or they have one trait that reminds me of an entity I know of but the rest of their traits are nothing like it).

- energy/magic map. This can be used in multiple ways! Map out the energy and vibes you feel when you're in other places, or map out the energy you felt during a spell/ritual, or maybe even there's a song that just speaks to you and you want to show the flow of energy the song makes you feel. How you show this flow is up to you and your experience! Maybe you have synesthesia and you want to explore how that mixes with your experience with the flow of energy in music ( or just in general) go for it!

- any personal ideas or concepts. This might be candle etiquette, or maybe you personally don't say the name of certain entities or deities for specific reasons. Maybe there's something you do that you don't see a lot of people mention in media. Write it down! You never know when you'll come across something and go "...wait a minute" and then you can flip through your Grimoire/BoS and go "oh! Right, that's just a personal belief/uncommon concept so that might be why it isn't in here." Now. This does not mean stealing from other cultures and claiming you believed in it all along. And it doesn't mean disrespecting any basic rules of etiquette.

- if there's items you see and you have an inexplicable pull to, document it! Talk about the energies they had. What they were and looked like. If you bought it or not. This can help you in the future when it comes to incorporating items. Sometimes I find out that an item I bought because its "vibes were interesting" can actually be repurposed and I always feel proud afterwards because my intuition knew all along.

- do certain places or situations make you feel a little bit more magical than you usually do? Make a list of those places (and if you want to add a description of them!) Sometimes when I'm not feeling 100% with my craft just visiting those places makes me feel better.

- Information about where you’re from or where you currently live, and how this place applies to your practice. I’ve seen at least one or two people do this with their grimoire’s and it’s a great idea. It doesn’t have to be an extensive history either, for me, I just focused on the state I live in and I added basic information that I felt belonged there. I also included some common folklore of the area.  

- - - 

I'll add on more as I brainstorm them. These ideas and concepts are not mine and a lot have probably been done already. Have fun with them! Reblog with more ideas (I'll definitely reblog ones with ideas I like)

[windvexer]

When I ask my deity about something and I use tarot when he wants to connect there are no tarot spirits right? Cause when using tarot I say “this deck only (deity) can communicate with Me” to avoid unwanted trickster or other spirits to trick me. Am I doing it right?

Here are my beliefs.

A tarot deck is like a boat. It's job is to carry meaning, and it can be sailed by any number of spirits or gods (or none at all).

If you believe in spirits then perhaps you also believe that sundry jackasses can lie about their identity and try to sell you on meaning under false pretenses.

Generally, I believe the biggest risk of this interference comes when people demand a god fits into extremely narrow expectations. The god, vast and unwieldy in shape, does not fit into such a narrow crevice; a passing spirit, small and able to fit through the keyhole, pops through and says, "why yes, of course I'm Loki - I'm answering you in the way you expect to be answered, aren't I? Don't I meet every demand you have for how your gods are supposed to behave?"

So IMO, the biggest risk is refusing to accept communication unless a god presents exactly as you demand they present; if the god suddenly apologizes for disappointing you and then immediately meets every expectation, something is rotten.

If you want to protect your deck from unwanted interference, strongly setting intent that only a certain being may use the deck to communicate with you.

You can also employ simple magical charms to protect a deck, which I generally recommend everyone do as a matter of habit.

Here is one that works fine:

Light some incense. Into the burning ember, speak these words:

Creature of fire this charge I lay, no phantom in thy presence stay. Here my will addressed to thee; and as my word, so mote it be.

Then, dedicate the reading session to the entity as normal.

A deck may be formally consecrated to only belong to such-and-such entity, which in my opinion greatly helps seal off intrusion. Any consecration ritual will do, but then you've more or less permanently given the deck to someone and you can't necessarily just do take-backsies.

A decently warded home, where random spirits aren't just allowed to wander through, is probably a good idea.

If your home has basic protections and the deck has been formally dedicated to a god, then I wouldn't have any concerns, personally.

[wings-of-ink]

hello! sorry for the incoming macabre ask:

you said you liked ghosts, which made me think 👻... do spirits of the dead exist in the GC universe? what’s ROs’ stance on ghosts? (who’s going to get outed as a scaredy cat?) also, if it isn’t something we’ll get to see in the story, what do funerals look like? do people usually get buried or cremated? are there any special ceremonies?

i’ve read whatever i could find of your (delicious) worldbuilding but i need more; i’m hungry!!

I wouldn't say that's so macabre, as long as we're not killing off the ROs or the MC, we're good! 

This is a fun subject, really!

The people of the GC universe have varying ideas of what happens after death - sort of how we do irl - but the most prevalent belief is in reincarnation. They don't necessarily ascribe to remembering past lives or anything, but they don't think the soul of a person just vanishes after, and that it's sort of "recycled" back into the world. There are some that think the souls of the dead return to the gods they served - sort of powering them up and becoming a part of them.

Funerals in the world can be big events depending on the person - whole towns may be involved. Most people are cremated in pyres. Loved ones stand watch and speak to the departed one last time. They say goodbye or even air grievances - and it is firmly believed that the dead actually hear or understand everything that is said at their funeral. The smoke is sacred - a representation of the soul departing.

Families usually handle the body of their loved ones with any traditions passed down from within. Otherwise, you may see healers or midwives assisting. Since some are still followers of the gods, there may be something specific to those practices that they'd want done. For example, if they follow the Deities of the Stars - their service would be held at night. If they worshiped Casimir, they'd have a really really big pyre and likely be burned with a weapon. Some families simply bury any ashes or bone that remain, keep them in urns, or actually use them - mixing into a clay to make a memorial pottery of some sort. There are a few regional traditions as well. Those in the north may leave ashes at the tops of mountains. Those in the south sometimes take ashes out to sea. The middle province doesn't really have anything quite like that - burying ashes is the favored tradition.

MC's mother was burned on a pyre according to Dov's family tradition. He's from a nomadic people that burned the dead after placing a loaf of bread in their hands (often the departed's favorite kind) - sort of like a last meal. The pyre itself would have the departed's name etched in it and sometimes mourners would write sentiments to burn with them. Kip and Dov made promises to see that MC was cared for. They buried her ashes among the roots of the tree where she was found with her baby.

Spirits exist - more so known as demons - but they are not believed to be the spirits of the dead. They are their own entities but instead of being corporeal, they're magic. Demons can take possession of the living, but in the current world, this is quite rare. Gods nearly eradicated demons (at least the ones most dangerous to people), so they're a rarer find, and are drawn to strong magic and even emotion. This is why the Fields of Desolation are not pleasant. 😁 (Guess where you're headed later, teehee)

Since ghosts as we know them aren't really a thing they would know about, the ROs attitude towards demons:

Oswin–unnerved

Zahn–scared shitless

Duri–fearless (and dumb)

Rune–trying really fucking hard to not look scared

???--annoyed

Thank you for the fun question Anon! I love that you're interested in the fabric of the world. I'll try to pop this in the codex as well. ^_^