#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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Cosmicaquamarie

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This post was reviewed and edited for easier reading by ChatGPT.

[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!

[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)

[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. ^_^

[jazzmckay]

anders & merrill parallels

despite coming from contrasting walks of life, anders and merrill have a lot in common. tension rises between them due to fundamental differences in their belief systems; things that could help them understand each other incredibly well mostly just drive them apart, which is such a tragic loss for two people who are in desperate need of support.

ways anders and merrill parallel each other:

childhood displacement and resulting isolation

on a quest for the good of their people

their faith

association with spirits/demons

lack of support and eventual tragedy

childhood displacement and resulting isolation:

at the age of 12, anders was taken from his parents to the ferelden circle. when merrill's magic manifested as a child, she was sent to another dalish clan that needed a keeper's first, having to leave her parents behind. their magic meant they had to be uprooted from their homes and families. merrill's displacement was not done maliciously--mages are moved around so that no clan goes without a keeper to preserve their history and culture--but it does still mean she lost her family very young and only has vague, wistful memories of them.

marethari, as much as she thinks she's doing what she must / what's best for merrill, is not a good parental substitute. their relationship may have started decently, until the matter of the eluvian drives a wedge between them, but what happens at this point doesn't paint marethari as a good parental figure. marethari chooses to send merrill away rather than trying to reach a compromise with her, or even just comforting her and helping her process her grief in a healthy way. it's clear merrill thinks of marethari highly, but it seems like acceptance and emotional support may not have been a large part of their relationship. in addition to this, as a keeper's first, merrill's training and apprenticeship likely took most of her time, making it harder to nurture other friendships.

likewise, the circles aren't a good place for mages to form relationships. they're under constant scrutiny, they have to be careful about any connections they form, many mages may feel they're safer keeping to themselves. children born to mages in a circle are even taken away from them. circles are a hostile environment in many ways, and wouldn't inspire the mages to foster companionship. anders refuses to talk to anyone, even the other mages, at first. he escapes seven times. it isn't until karl that he has any reason to stay, and then karl is taken from him, too.

both anders and merrill have the people they care about taken from them repeatedly--and in merrill's case, the people she cares about even push her away. they grow up disconnected, isolated, and having to fend for themselves. i think this leads to some of the personality traits they have in common as well, namely their intense stubbornness. they have learned that they're largely on their own, so they make decisions on their own, and can rarely be swayed once their minds are made up.

on a quest for the good of their people:

anders is fighting for mage freedom--eventually at all costs. merrill is determined to restore her people's history--not necessarily at all costs, but she goes far further than anyone else would. both of them are driven by wanting better for their people. they are passionate about their goals. these goals are at the forefront of their lives, they are goals they strive for across years, relentlessly. they don't give up, no matter the difficulties along the way. they desperately want positive change for their people. their goals say a lot about them as people, and these qualities are things they share with each other in an incredibly synonymous way.

their faith:

anders is andrastian, and merrill believes in the creators. anders' faith doesn't come across so strongly, because he is of course opposing the chantry's rule on how mages should be treated, but the chantry's teachings have been ingrained in him since growing up in the circle. he believes that there are spirits, and there are demons, and the demons are wholly, inherently evil. his understanding of justice supports his understanding of this dichotomy. merrill, by contrast, was taught that all spirits/demons are just like people, as varied as any mortal. she says all of them can be dangerous, but they can be helpful, too, and she is confident in her ability to treat them carefully and safely.

they butt heads on this badly. anders asks if merrill started blood magic by accident. she says no, she did it very intentionally. anders asks if maybe she just doesn't understand the difference between spirits and demons. she says no, i have a belief of my own and don't need to borrow yours, thank you. it's inevitable that you'll become an abomination, anders claims. skill issue, merrill replies.

their faiths are different, but the two of them are similar in how strong their belief is. it's that stubbornness again: they will not be swayed. they can't agree on blood magic, or how to view demons, which is the main thing that keeps forcing them apart despite how similar they are.

association with spirits and demons:

on the topic of their different perspectives on spirits and demons, another main thing they have in common is anders' relationship with justice, and merrill's relationship with demons she communicates with through blood magic. anders doesn't appreciate them being compared in this manner, but from merrill's viewpoint, they are very much comparable, and in fact, anders is doing the same thing she does, but far riskier. she has no intention of ever joining with a demon. she says anders has no room to judge her, when he has let a spirit in.

both of them are willing to communicate with spirits, both of them have a more open-minded approach to spirits, and this is something they could find common ground on, if not for anders seeing a difference between spirits and demons while merrill does not, and anders' belief that he has corrupted justice into vengeance. it doesn't matter who is right, if either of them are. both of them are doing something risky but thought/think they have a handle on it, that they could/can control it.

whether or not they're right, it leads them to tragedy regardless.

lack of support and eventual tragedy:

merrill is right that she can fix the eluvian. she's also right that eluvians were important artefacts to the elvhen and they could teach the dalish more about their history. she's right! and it doesn't matter. no one believes her. everyone thinks she'll only bring them destruction. her clan turns her away when she refuses to back down. even hawke can not believe in her. many of the other party members don't believe in her. she's right, and it doesn't matter. her clan has a high chance to end up dead. she loses marethari regardless. many party members comment on the fallout in harsh ways. the guilt is already eating at her. she fixes the eluvian, and there may be no one left to share in her success, she may not even be able to feel victorious herself, after what it cost. she is alone. she has always been, in some way, alone.

how different could it have been, if someone had understood what she needed? if someone had as much faith in her as she had in herself?

anders lived the experience of a young mage ripped away from their home and family, forced into a circle, forced under templar and chantry rule. he knows what it feels like to be a lost, scared child, locked in an unfamiliar place, where armoured figures with hidden faces are always watching. he has experienced the abuses. he has been imprisoned and tortured. he has had people dear to him taken from him and made tranquil, even though they were harrowed, even though they never would have done something to warrant it. until joining the wardens, his life was an endless battle to just be free.

the fight for mage freedom, and his manifesto, are a matter of life and death for anders. everyone else, though--they can ignore it, because it doesn't impact them directly. they can believe the potential for mages to be dangerous justifies systematic abuse and even culling. anders is frequently ignored, belittled, or even hated for his mere desire for freedom, and for his passion for the freedom of all mages. he is screaming at the top of his lungs, and no one is listening.

in the end, no matter what, he blows up the chantry alone. he's out of options. it's been years, and nothing else works. no one cares. he has been pushed to his limit. he doesn't want it to be like this, but it's all there is left, and something has to give. he does this alone, and is willing to give his life in the aftermath, because he has nothing left to give.

this likely never could have gone differently. anders has been doomed since the moment he was born a mage.

conclusion:

anders and merrill are characters whose lives often mirror each other: mages who have never been able to form strong, healthy, and/or lasting relationships, finding themselves isolated and needing to rely on only themselves. they are deeply passionate people who strive to do good and make a difference. unfortunately, this works out tragically for both of them.

in a perfect world, maybe they could have been exactly what the other needed. their empathy and determination could have let them help each other. the base is there: when anders first starts asking about merrill's blood magic, he does it with a tone of concern. many times, merrill can express her wish for anders to be happy. in a conversation with sebastian, merrill reveals that anders has warned her to stay away from the chantry. they disagree with each other, but they do care. at anders' harshest, he is talking about himself more than he's talking about merrill; as he feels himself fraying, he projects his anger at himself onto her. he sees their similarities, and he's afraid. she could have reassured him, they could have supported each other, could have put their heads together and found new solutions. the potential was there for their similar experiences to give them a uniquely strong companionship, but they just never managed to grasp onto it.

[free-spirit-roses]

NRC Dorm Placement

my friend and i were discussing what NRC dorm we'd be sorted into, so here's some thoughts on how i interpret the dorms! what dorm do you think you are? 👀

.

Heartslabyul: based on how Heartslabyul is talked about, i see the dorm as one with a strong sense of character and unmoving values, possibly stubborn to a point. but its also important to note that its based on a queen who "ruled over a land of madness", so i like to think these students are weird on the inside if not on the outside, and they strive to find order in chaos and typically face troubles head-on. its probably common to have strong core values but they may not necessarily be universal- what the individual thinks is right, not necessarily what is right.

Savanaclaw: now when looking at Savanaclaw, it's main inspiration is "persistence." theyre not known for having students with high marks, but theyre equally as calculated and naturally talented in their respective area as Scarabia. Savanaclaw focuses more everyone having equal chances to succeed. they have the tendency to have a lot of athletically inclined folks, but the dorm is all about the spirit of never giving up in the face of defeat, which is ironic cuz Leona's depression really took over before his overblot.

Octavinelle: Octavinelle is said to be inspired by benevolence and charitableness, and are known for having skilled potion makers only second to Pomefiore. Octavinelle on the other hand has intelligent students, but at it's base the core of the students of this dorm are empathetic and worked their way up to having their reputation. These students are likely to be putting on a show to make up for the fact they didnt start at the top.

Scarabia: described as having very intelligent students, very patient and thoughtful, and to a point perceptive. Scarabia is naturally talented intelligence and highly calculated wisdom waiting for the right moment to strike. These student likely have the tendency to be coasting along in the shadows. Scarabia is defined as being excellent judges of character as well.

Pomefiore: its common to find folks in Pomefiore who are skilled/talented in potion making, but the dorm itself is representative of the Evil Queen's spirit of dedication, which is expressed by staying true to oneself and standing up for ones beliefs and uniqueness. typically quite charming and romanticizes things they love. really appreciates what they see as beautiful in the world.

Ignihyde: very much angry at the world and its history with the human race, but doesnt participate in big rallies for change cuz (in short) philosophy is a bitch. this dorm is known for next generation advancement in modern day magic, especially with the involvement of modern technology (technomancy). most likely highly excels at like one thing they hyperfixate on and thats it. canonically described as "quiet, serious, and not very outgoing" but let me raise to you this: they have one hell of a sense of humor.

Diasomnia: values tradition and wisdom of the past, and are extremely family-oriented. magical prodigies. probably seen as a bit odd or different socially. finds history and anthropology interesting even if they dont excel at it. incredibly loyal and kind-hearted!!

[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.

[elluendifad]

Hi!! Could you talk a little about what following Tolkien elven religion is like for you? (Only if you want, of course.)

I'm a very newly awakened elf and I've just started reading the silmarillion. I haven't even gotten that far yet, but already it's the most connected I've felt to any religious system/religious lore before. I'm considering practicing Elvish religion, but idk. I feel a little strange saying I want to practice a religion from a work of fiction, y'know? (Please don't take this as me saying your beliefs are strange— I think they're incredibly cool. This is very much just a me thing.)

Anyway, I guess my question is something along the lines of How did you realize this was the religion for you/What do you believe wrt Tolkiens work being or not being fiction?

Thank you so much for taking the time to read this, and doubly so if you choose to answer! Have a nice timezone :))

Alatulya, welcome kin! this one is a little long so there is a break. i also accidentally hit publish early, so we will see how editing it works lol.

table of contents: 1. my personal history and variety of practitioners 2. dealing with fictional mythology + my fave paper on this 3. specifics of tolk elven religion

Eldarin religion has been my primary religion (buddhism and my eclectic animistic witchcraft also there and co piloting) for seven years. I have been working with other eldar on our own group experience of this religion for two or a bit more years. I have taken a bit of priestly service role of collecting and organizing materials and keeping track of the calendar, which we call Loa and which assigns different holidays and themes in order throughout the year. i suspect this role is agreeable and natural for me as minya, but that anyone could do it. the degree of demand differs depending on the person, and i would say that much of my time is set to thinking of or practicing our religion. others have less involvement, and some of us feel our cosmology and philosophy is more cultural than religious the way humans might think being a member of a religious group should be. as for my own journey of getting here, i have been otherkin for most of my life and many years of that was 'generally a nature spirit type thing.' which became 'an elf but i am not sure what kind.' which then became 'oh god… am i one of those hoity toity tolkien elves?' bc there is a cultural expectation among elfkin that tolk elves are more dour and care what color clothes you wear or something… turns out that is not true! or, at least, i have not met these grim arbiters of what is becoming of the firstborn! reading the silm and other texts in the legendarium to fill in what i had absorbed from the hobbit and lotr (books and movies) was the lightbulb in the dim cellar. i use a mixed spiritual and psychological theory of origin and function for my several theriotypes and elven kintype, and this experience filled in some gaps i had just been sitting with. i personally feel that i am living one continuous eldarin life--awoken at cuivienen among the minyar, lived and died, spent my time in mandos, and was reembodied here. my sense of memory is dim, and i generally assume that is just a sign that memory is not necessarily important for this part of my life the way it was in arda. it is a great honor to live this life and to find other eldar and folks of all kindreds to share my love of life with. it was natural to transition from my magic and religious work with nature spirits to a cosmology centered on the legendarium-some of the spirits i still work and live with admit they are maiar, others are not maiar and are of the many kinds of spirit and sprite that entered into ea after its foundation to explore. our working relationships and the techniques i use for magic have stayed much the same. so how i do it is just one example in a variety.

2. i will answer first on dealing with the fictional aspect and wrestling with the nature of constructed or pop culture or modern mythology spirituality-the individual beliefs differ there, too!

for my part, i do not think the legendarium is a factual history of this actual world we currently live in. i do think jrrt was channeling something, and may or may not have been kin himself of arda reembodied here.

i think ea, like most faerie realms, is both here and not here and you have to open yourself up and step into it. once most people have experienced the enchantment of an otherworld, they are never fully able to drop the sense of it. i do feel that the legendarium makes a suitable mythopoetic 'history' for powers and themes that apply to both this world and ea and where they overlap, and that the legendarium becomes more historically factual the closer you move into ea and the further you go from current earth.

there is a lovely paper that i surely have annoyed everyone with titled the tolkien spiritual milieu by Markus Altena Davidsen of the university of leiden that really gets into the anatomy of constructed religion and what is present in certain medias that lends itself to that anatomy, which he calls 'religious affordances' in the text. it details a number of groups of many varied beliefs in the tolkien spiritual sphere, some active and some long gone, and i feel that it is a great way to expand one's vocabulary and mental concept of constructed religion and the wide variety that is possible in such constructions. the pdf is available from the university website here

if you check out mr davidsen's other published papers on that website, there are several others also relevant to fiction sourced mythology and spirituality including some by other authors.

3. that being said, there are religious affordances for the eldar in the texts, but not necessarily enough for a fully fleshed out practice as is prepared and given to new members of various world religions. it will take a bit of crafting, but we elves do love to craft! most of us blend legendarium cosmology and philosophy with practices or philosophies we are previously familiar with, like neopaganism or judaism or etc etc.

we have developed some structure in the forms of: a multiply layered observational calendar for the six seasons, eight holidays, twelve months, and seven days of the week; the fourteen valar and several named maiar associated with certain valar; the panentheistic experience of the creator Eru; and the use of witchcraft, meditation, devotional or worship activity, enchantments, glamor, and arts like music poetry painting crochet etc.

most of us practice our own personal flavor by ourselves, and group rituals or ensorcelments are rare at the moment. we are all exploring, and i would be thrilled to hear about your own explorations and what calls to you!

sooo… basically i have a worship and work relationship with our gods and supportive spirits, and give observation on the schedule of the loa. i have daily practices, like offering of beverage an thanks or an oil anointment of my body, and then weekly practices like an eruhini veneration and well wishes for the dead. and monthly practices on the full and dark moon, which is focused on the vala of that month, where i usually do spellwork for the constellation. there are holidays at the start of each season and at the solstices, where i will sometimes do magic for the group but is usually about the personal journey. the one time another elf was physically with me i did do some small rituals including that elda. my herbalism work is inherently religious to me and i also count both learning and practicing herbalism as a devotional activity, same with going on walks or drumming.

i invite you very earnestly to reach out any time and through any means you are comfortable with, and i wish you a very blessed full moon of winds. hantanyel ar namarie!