#the modern literary werewolf

[warmhappycat]

I love this website and will never leave. Incredible. My absolute favorite shit.

do u think omegaverse acknowledges covid-19 and the generation of people who permanently lost their sense of smell like how are they all scenting each other now is the omegaverse economy in shambles

[cheriecelestial]

Jacob Black's Self Saving System Pt.1

disclaimer *:･ﾟ✧*:･ﾟ✧ crack.swearing.not proofread

synopsis *:･ﾟ✧*:･ﾟ✧ Jason, a self-proclaimed no. 1 Stephenie Meyer hater, finds himself unexpectedly transmigrated into the very novel he disdained. Following this ironic twist of fate, he is now tasked with the challenge of creating a better version of the story himself.

a/n *:･ﾟ✧*:･ﾟ✧ Inspired from @duckysprouts ’s series. It’s so good ⁉️‼️. If you haven’t seen it already, PLEASE GO CHECK IT OUT. Like finally svsss content that isn’t shizun sphinx cats or binghe skin creature abomination. Art and concept so fresh it made my heart cry with joy and pulled me out of my three-month long writing slump. So, I humbly present this as an offering to our lord and savior, Ducky. Comment, Reblog and Like (∩˃o˂∩)♡

Twilight by Stephanie Meyer was a modern classic in its renaissance era with a large cult that loved to hate it. Set in a place with relentless rain, mist shrouded forest and an ethereal light piercing the gloom — the light being the one of only Edward Cullen. Though the statement is subject to fan bias — he was a man, rather sparkly vampire, who somehow managed to be both irresistible and perpetually constipated. 

Nonetheless, his charms never overshadowed the stellar performance of our female lead, Isabella Marie Swan— better known as Bella — a teenager who gained worldwide fame for having a personality less vibrant than a wet cabbage. Together, they navigated the perilous world of teenage angst, vampire baseball, millenia old racist italian politicians and werewolves with a curious t-shirt allergy, all in an impressively monotone palette.

It was a heartwarming tale that began with awkward stares, cryptic yet nauseatingly clichéd conversations and Bella’s inexplicable attraction to danger, making the romance as thrilling as it was perplexing. Meanwhile, the supporting cast of her high school friends, each with their own irrelevant quirks and subplots, served as convenient plot devices — appearing and disappearing at the whim of the author.

And as if her love life wasn’t tumultuous enough, Bella befriended Jacob Black. A werewolf who, unsurprisingly, hated all things vampire and Edward Cullen in particular. Between Edward’s brooding, Jacob’s abs and Bella’s classic damsel-in-distress antics that made poor Elena Gilbert seem unremarkable by comparison — the story unfolded with the subtlety of a glitter bomb and reached unprecedented heights of melodrama. Something that helped the tale become a global phenomenon, demonstrating that improbable love stories can indeed shine in their own sparkly “skin-of-a-killer” fashion.

“This has to be the worst piece of literature I’ve ever read in my life.” Those were strong words from a man who spent years and at least six hundred dollars collecting softbacks and hardbacks in every special and limited edition the series offered. Jason Black was an anti-fan who lived to scoff at the literary mediocrities of authors who, after taking one look at their drafts, believed they deserved to be released into the world as actual literature. Such people, often inspired by similar works, spawned their own deranged narratives, subsequently contaminating the sanctity of literature. 

In layman’s terms, Jason was a fervent hater of the highest order. He had a long list of things he despised about the series, yet curiously, re-watching the movies and re-reading the books always found its way to the top of his to-do list every other weekend. But do not get him wrong, not once did he say anything in favour of the series. Jason simply considered it one of those brain-rotting pieces that needed to be experienced to truly appreciate the beauty of classics like Emily Brontë and Jane Austen.

_username_1 : Bruh stfu. You’re probably an unemployed loner with nothing better to do in life than to be a keyboard warrior.  

_username_2 : then idk buddy don’t read it ? It’s not that hard. 

Jason huffed at the screen crossily, his fingers dancing over the keyboard unsure of what to type next. With a sigh, he stretched his arms as if preparing for battle. And a battle it was — being an anti-fan required more dedication, practice and patience than being a regular fan. What he didn’t realize was that he had knocked a water bottle off the table onto the frayed cord of his PC.

He couldn't fathom why people defended it as if their lives depended on it. If he ever met Stephenie Meyer, Jason would have a long talk with her about the plot—or rather, the lack thereof. With the number of plot holes in the books, they could qualify as swiss cheese. The inconsistencies were glaring: if sunlight made them sparkle, wouldn't they still sparkle during the day, just less brilliantly ? How did Jasper and Alice not overhear the phone call despite having super-hearing ? Why did Jasper go ballistic over a papercut when he attended a school where students would get paper cuts and scrapes all the time ? Why were vampires and werewolves the only species to exist ? And why was Bella, or more specifically her blood, so exceptional ? Did she perhaps descend from a line of flavourful blood havers or was it due to her mother's partial albinism ?

Was she special because she was the female lead, or was she the female lead because she was special ? There were so many unanswered questions and half-assed excuses for the events in the story that most explanations came from clever fans trying to make sense of things the author clearly put no effort into planning or thinking through. These questions had plagued him since he first read the series, and the lack of satisfying answers only fueled his irritation. So much so that Jason was embarrassed for the author. Regardless, he didn’t like the direction this conversation was going so he did what any intelligent person would do, i.e., spew hate comments and log off. 

edward_my_bbg : Dumbfuck novel, Dumbfuck author 

And as if on cue, a new notification popped up, dragging him back into the fray. It was another comment, this time mocking his apparent obsession with the series he claimed to hate. Jason’s face flushed with irritation as he furiously typed a retort, but before he could hit send, his screen flickered and went black. 

He looked down and realized the water bottle he had knocked over had short-circuited his PC. With a groan, Jason leaned back in his chair, staring at the dark screen. It seemed the universe had decided to give him a break from his self-imposed battle. His hand fumbled in the dark for the plug only to feel water on the surface. The sharp pain and crackle of electricity were the last things he knew before he plunged headfirst into endless darkness.

[Activation Code:「Dumbfuck Author, Dumbfuck Novel」 ]

[System activated] 

[Pairing command successful]

“What system ?” Jason asked out loud into the void even though he knew that it was most likely a figment of his imagination. He hadn’t expected to receive a reply however he did receive one much to his surprise. 

[Welcome to the system. During the opening of the 「you can you up」system currently in its development phase, we wish to provide you with the best experience. It is our sincere hope that during the process, you will achieve what you have stated: to transform a piece of stupid writing in accordance with your wishes into a high-end, expansive, and classic work. We wish you happiness.]

Jason blinked, trying to make sense of the message. He glanced around the dim room, half-expecting to see some kind of holographic interface or futuristic display but there was nothing. Just the voice in his head and the darkness. “What the hell is this ?” he muttered, feeling a mix of confusion and curiosity.

[You have been selected to participate in the beta phase of the 「you can you up」 system. Your task is to improve the story you despise, turning it into a masterpiece. All resources and guidance will be provided to you. Do you accept this challenge ?]

Jason hesitated, the situation seemed absurd, yet a part of him was intrigued. As he sat in silence, a thought occurred to him—what if he could actually fix all the plot holes that drove him up a wall ? Maybe this was his chance to prove he could do better. But then, the possibility of all of this being real seemed too slim. How did he get here ? What happened to him after the electric shock? Was he dying, or was he already dead ? "And if I don't accept ?" he asked, uncertainty and fear bleeding into his voice despite his attempt at maintaining his composure. The system responded quickly in the same mechanical tone as before.

[Your connection between your former body and soul was severed before the initiation of the program. If you choose not to accept, you will be returned to your previous reality with no changes made. This opportunity is unique and will not be offered again.]

“Severed from my body ? Wait— doesn’t that mean I’ll die if I don’t accept ?” Jason's question hung in the air, met with nothing but silence from the system. The lack of response only confirmed his fear.

The system's silence was deafening, seemingly pressing him to make a decision. Realizing he had little choice, Jason took a deep breath. “Fine, I accept,” he said, trying to sound more confident than he felt. How bad could it possibly be ? 

[Command acknowledged. Initializing story rewrite mode.]

The void around him began to shift and wrap. Till now he felt as though he was floating with no sensation except the system’s sound. His reality dissolved into swirling colours and Jason felt himself being pulled into a vortex. When the chaos settled, he heard a man’s voice call out to him. Unlike the clinical tone of system, this voice felt comforting and personal. He could feel tender warmth run through him however he couldn’t quite figure out what the voice was saying. 

“Son ? Can you hear me ?” 

“Dad ?” Jason murmured involuntarily, his voice hoarse as if he had just woken up from a long sleep. The gravel in the voice reminded him of the joys of his childhood when his dad was still — wait a second. Who the hell is that ?

His eyes struggled to focus as his eyelids fluttered a few times. Eventually, he was able to make out his surroundings. The first thing he noticed was the ceiling. Unlike the damp ceiling of his old apartment with its peeling plaster and harsh lighting, this one had old glow-in-the-dark moon and star stickers. It wasn’t familiar, but it seemed oddly comforting, like he had known it all his life. He slowly turned his head and saw a middle-aged man sitting on a wheelchair beside him with concern clouding his face. The man's russet complexion was lined with wrinkles yet his hair was long and lustrous.

“Where am I ?” 

“You’re at home. You’ve been asleep for so long, it’s alright if you’re confused. Take your time son.” The man he called ‘dad’ answered sincerely.

Jason’s mind raced as he tried to piece together what had happened. The familiarity of the room and the comforting presence of the man didn’t align with the reality he remembered. In that moment, everything came back to him—his death, the void, the system, everything. Jason went into what could only be described as psychological shock. His brain went on autopilot.

The man reached out to grab Jason’s hand, but Jason flinched and pulled away. Slivers of hurt flashed in the old man’s eyes as he slowly withdrew his hand. Jason hadn’t meant to react so harshly, but the information dump combined with the influx of sensory input, he was simply too overwhelmed to cope.

“I-I think i need some space. Do you mind ?” Jason spoke each word carefully, then added, “...dad,” feeling strangely guilty for hurting his feelings. The old man nodded slowly and wheeled himself out of the room. As soon as he was gone, Jason jumped out of bed and ran to the mirror. "Who the FUCK is this?"

Staring back at him was a boy, fifteen or sixteen, with the same russet skin as the old man and glossy black hair that looked like it belonged in a shampoo commercial. Recognizing the features, Jason knew this could only be one person.

 [System activation successful ! Binding your role as : Jacob Black]

[System : Booting Up]

Jason, now Jacob Black, stared at his reflection in disbelief. The reality of his situation hit him like a shit ton of bricks. He brought his fist to his mouth and sobbed into it, and here he thought college was devastating. “But I’m Team Edward,” he choked out between sobs. “That’s so fucked up.”

[Thank you for initiating the execution of the system. You are not bound with the account ‘Jacob Black’. All resources and guidance will be provided to you in due time. Initial B points : 100]

Jason—Jacob—felt a rush of confusion and frustration. “Now what the hell are B points ?!” he yelled, his voice reverberating off the walls of the unfamiliar room. The loudness of his own voice startled him, making him realize just how different everything felt in this new body.

[As the plot progresses, a number of opportunities to gain more points will be available. Please make sure your B points are not lower than 0. Otherwise, the system will automatically impose penalties.]

He stumbled back from the mirror, running a hand through his hair, which was definitely longer and thicker than he remembered. He could feel the strength in his limbs, the vitality of youth coursing through him. Yet, despite the physical vigor, his mind was in turmoil. He had transmigrated into the very novel he hated; the universe always seemed to have a field day when it came to ruining his life. Jacob looked around the room that was littered with the relics of a life he had to now live — a cozy bed with rumpled sheets, a desk cluttered with schoolbooks and posters of motorcycles, bands and scenic landscapes on the walls.

“Um, so is Bella here ?” Jacob asked, scarfing down the bacon his dad made for him. Despite stressing over the role he was supposed to play in the story, he quickly adapted to his new life. He had a family, a house to live in, no worries about finding employment, no bills or taxes, a social life—or at least he assumed he had one—and, most importantly, no backaches. In hindsight, this might not be all that bad.

“Oh, you remember that ? Charlie said she’s arriving in a couple of days,” his dad, Billy, replied. Jacob felt a strange mix of anticipation and relief. Unlike most unfortunate transmigratees, he had no death flags to worry about, so he could sit back and watch Bella and Edward fall in love without “Jacob” interrupting them. Maybe he could even make things easier for Bella by acting like the perfect wingman. Who cared about making a better story anyway ? And once he had seen his OTP together, he could take his ticket out of town after the wedding and never return so that he could avoid the whole Renesmee business because some fates are worse than death.

[WARNING: Your plan is extremely dangerous and constitutes a violation. Please do not attempt it, or the system will impose strict penalties.]

Jacob choked on his water as the sudden warning window popped up in front of him. For a moment, he was so immersed in the domestic comfort of his new life that he almost forgot about the cursed system. His father looked at him with concern.

“Water went down the wrong pipe, that’s all. Nothing to worry about,” Jacob said awkwardly, trying to reassure his father. So you can read minds now ? He internally taunted the system.

[It is a feature designed to ensure maximum support for the user.]

“That’s bullshit. Also, what do you mean by violation ?” Jacob asked. Does this system really have no respect for privacy ? If he didn’t know better, he’d think it was some kind of Zuckerberg’s meta gimmick.

[You are currently at the beginning stage. OOC function freeze is activated. You must complete the beginning stage before any functions can be unlocked. If you perform any actions against the original ‘Jacob Black’ role before the functions are unfrozen, a certain number of B points will be deducted.]

Given his extensive time spent on the internet, Jacob was well aware of what OOC meant, and he knew it wasn’t a good sign. OOC stood for Out Of Character, referring to actions taken by a role that deviated from how the character was originally written.

“FUCK OFF. I’m an adult. I already finished my degree and Bella is like, a baby. And you can forget the whole Renesmee shit too. Bella belongs with Edward and and I have no intention of pursuing either her or her future daughter. So back off, you creep of a system.”

[WARNING: The system is issuing another alert. If your B points fall below 0, you will incur a penalty, which involves being automatically transported back to your original world.]

“You know, threatening me with death is really getting old,” Jacob stared at the warning message with his anger mounting. It felt like the system was encroaching on every aspect of his new life, imposing rules and restrictions without offering any clarity or real support.

He took a deep breath, trying to push past his irritation. There was no point in arguing with an automated system, especially one that clearly had its own agenda. Jacob decided to focus on what he could control. He needed to immerse himself in his role as Jacob Black and complete the introductory stage without attracting undue attention. The system’s warnings might be annoying, but he couldn’t let them derail his efforts to adapt to his new life.

As he finished his breakfast, Jacob glanced around the house. It was warm and welcoming, albeit a little messy, which was understandable. He and his dad were the only ones living there and according to his dad, he had been inexplicably unconscious for almost a week. Keeping the house tidy wasn't exactly a priority for a man worried sick about his son.

“Thanks for breakfast… Dad,” Jacob said, still not used to the idea of having a father again. There was the whole issue of stealing the real “Jacob” ’s life, dealing with imposter syndrome, and the guilt of replacing the memory of his own father by calling this old man his dad. But that was an existential crisis he chose not to mull over at the moment, especially on the precipice of the story's start. Call him selfish, but he preferred to focus on his blessings.

“I’ll go take a walk. I’ve been asleep for a while, so I need to… uh, stretch my legs,” Jacob said awkwardly, hoping Billy wouldn’t notice anything strange about his behavior.

“Sure thing, son. Also grab some red meat from the store for dinner. A growing kid like you needs that protein. And buy yourself something nice with the leftover money,” Billy replied, taking out his wallet and handing him some cash.

Jacob stared at the man in awe. As a kid who had bounced around the foster system after his dad died, he was used to being scorned and neglected. This might be part of the reason why he had become a social recluse, spending his time bashing bad literature and authors online. To him, Billy Black was the closest thing he had ever seen to an angel.

Jacob took the money, still feeling a bit dazed. “Thanks, Dad,” he managed to say, pocketing the cash. The air filling his lungs was much fresher than the pollution-riddled air of the city he used to live in. Nature seemed a lot nicer than he remembered. So, here's a lesson for the kids—don’t wait until you die and get transmigrated into a novel you hate to understand the importance of getting outside and appreciating nature. In short, go touch some fucking grass before it’s too late.

Almost as if by instinct he found himself at La Push beach. He wandered through the familiar yet new surroundings, trying to piece together his plan. If he was going to be stuck in this world, he might as well make the best of it. He thought about the story and mentally reviewed his plan. He would stay under the radar, be friendly but unobtrusive and focus on blending in with the locals. If he played his cards right, he might just manage to navigate this strange new life without getting points deducted by the system’s restrictions.

After strolling along the shore for a while, Jacob found a rock to sit on and watch the ocean. It was a stark contrast to the urban jungle he was accustomed to, this place was serene and almost idyllic.

“Ayo, is that Jacob ? Hey, Jake !” he heard someone call out. A moment later, a boy close to his age ran up to him, followed by one more. “Um, hey guys. How’s it... going ?” Socializing wasn’t one of Jacob’s strong suits; in fact, it was the exact opposite of the skill he had meticulously avoided developing over the years.

“Man, the whole crew was freaking out about you. You were out cold for a week and for no reason !” One thing Jacob appreciated about the system was the introduction tags above each character’s head. The boy speaking was named Quil, his cousin from the Quileute tribe. He knew these interactions were unavoidable, given their significance to his new role in the plot.

“Well, I got better ?” Jacob attempted a witty quip but cringed at how poorly it landed. To his surprise, the two boys just laughed. “I’m just glad you’re okay. Stop by Sam’s sometime; he’s been asking about you,” Embry said, giving Jacob a friendly slap on the shoulder.

“Wait Sam ? Right of course. Duh. Sam’s place. Got it.” Jacob replied, blinking in confusion for a moment. Sam Uley was the Alpha—or at least the to-be Alpha—of the pack Jacob was supposed to join during New Moon.

[Mild OOC warning]

“Ay man, you feeling okay ?” Embry asked again, noticing Jacob’s hesitation. Jacob froze, Embry Call was the real Jacob’s best friend and if he figured out that Jason wasn’t really Jacob, it would spell massive trouble for him.

Jacob forced a smile. “Uh, yeah. I just—” He quickly tried to think of something. What would Jacob Black say in this situation ? What does he do to feel better ? He racked his brain for answers, knowing he needed to play the part convincingly, at least till he found a way to unfreeze the OOC function.

Go bother Bella ? a small voice suggested. Bella’s not here yet dumbass, another voice countered sharply. After years of social isolation, Jason’s inner dialogue had evolved to the point where he could have entire discussions with himself. No, he wasn’t schizophrenic.

“—I was just going to grab some red meat to chow on and uh y’know, work on my bike,” he finished, hoping his voice didn’t betray his nerves.

Embry and Quil exchanged a knowing look, which made Jacob's anxiety spike only to burst into laughter. “Classic Jake. At this rate, you might end up marrying your bike,” Quil teased and Jacob laughed along, though he desperately wanted to crawl into a hole and never come out again.

“Just take it easy, yeah ? We don’t want you passing out on us again. By the way, there's a sale at the store on the other side of town,” Embry squeezed Jacob’s shoulder reassuringly again. The familiarity they seemed to share with him was comforting, even if he felt like an imposter. He knew he had to get up to speed quickly if he wanted to maintain this facade. They soon parted ways and Jacob headed towards the store.

The store lady was overly enthusiastic upon seeing Jacob. He couldn’t tell if it was because of his face or the fact that he was a regular. As Jason, he had always been below average in looks and physique. Whereas, by the virtue of being the second male lead of a popular teenage romance novel, Jacob Black was undeniably attractive. With his deep-set dark eyes, prominent cheekbones, and beautiful long hair, he looked like someone Jason would have envied. Maybe he could try his hand at modeling once the story ended, because there was no way he was putting himself through college again.

And as unpredictable as the weather of Forks was, it began to rain. Normally, Jason would wait it out and then go but now that he as in Jacob’s body, he thought to test his body’s limits. Like c’mon a little drizzle isn’t going to hurt a big strong werewolf alpha-to-be. He stepped out into the rain, feeling the cool droplets on his skin. It was refreshing, almost invigorating. Jacob’s body seemed to handle the cold and wet far better than Jason’s ever did. As he made his way back the store, he noticed people giving him friendly nods and waves. It felt strange to be acknowledged so warmly, a stark contrast to the anonymity he was used to.

At the red light he stopped, waiting for it to turn green. Sure, there were no cars around and he could have just walked, but road rules were no joke. He liked this life too much to risk having it taken away by truck-kun. “Hey system, is double isekai a thing?” he asked. The system didn’t reply, so that was probably a no.

Jacob glanced to his side and saw a person standing under a large black umbrella. A strong sweet scent pricked his nose. How strong does this guy’s cologne have to be to reach me even with the rain ? There was a name tag hovering above the person’s head, but it was obscured by the umbrella, as was his face. One thing he had learned was that only people relevant to the story had name tags over their heads, which meant this person was a character in the story. He looked down at the stranger’s hand—it looked like porcelain.

Jacob felt a sense of foreboding, creeping up his veins. His instincts were on high alert, telling him that this stranger was no ordinary person. The rain began to pour harder, each drop bouncing off the asphalt with increasing intensity.

The person probably noticed Jacob staring and as he did, the umbrella tilted slightly, revealing a glimpse of a pale, almost ethereal face with piercing golden eyes. The moment their gazes met, Jacob was momentarily blinded by a brilliant golden aura radiating from the name tag above the person’s head.

[Edward Cullen]

Jacob’s heart skipped a beat. Of course, it had to be Edward. What were the odds of encountering your favorite character on the very first day of your new life ? He felt his knees weaken. Despite the dim lighting and gloomy setting, Edward was undeniably striking. The rain seemed to fall more slowly around him, as if even the weather was reluctant to mar his flawlessness . His tousled bronze hair framed his face perfectly and Jacob felt an inexplicable urge to reach out and touch it. Despite all his criticisms of the novel, Edward had always held a special place in his heart for reasons Jacob couldn’t quite explain.

Damn, this mf looks anemic as hell. Maybe I should feed him. It was a half-serious thought, borne from both concern and his internal struggle to reconcile his feelings towards the character with the reality of his situation.

[OOC WARNING! OOC WARNING!]

[Edward Cullen is your enemy.]

“Fuck off, he’s my babygirl,”Jacob shot a mental retort at the system in exasperation and a streak of protectiveness. The system’s declaration that Edward was an enemy wasn’t misplaced given Jacob’s role in the novel but that didn’t mean it wasn’t at odds with his feelings.

Edward had always been his favorite character, a source of fascination and admiration. This was supposed to be his chance to explore and perhaps even improve upon the narrative, not to be embroiled in conflict with a character he held dear.

Jacob didn't even notice when the light turned green and Edward started walking away, his steps soundless on the wet pavement. Acting on impulse or perhaps some hidden desire, Jacob found himself walking towards Edward and grabbing his elbow, accidentally knocking his umbrella aside. Edward stopped and turned to him as the rain continued to soak them both. His gaze was like a sharp, unyielding beam of light, cutting through the rain. His eyes, an unusual shade of golden amber, held a depth that seemed to pierce directly into Jacob's soul, scrutinizing every hidden corner of his being.

[OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC! OOC!]

[EDWARD CULLEN IS YOUR ENEMY]

I’m so stupid — I forgot completely. Jacob and Edward haven’t met yet. Maybe… maybe I can salvage this ? Be a dick and still be nice ? He definitely didn’t want to end up on Edward’s bad side, nor did he want to break the system’s rules. Annoying as it was, the system was what kept him alive. Though he’d never say it out loud, he was terrified at the thought of dying, again. The system’s constant reminders of their supposed enmity were starting to grate on him, but he couldn’t afford to make more mistakes. What was a man to do when every choice seemed fraught with peril ?

Ack — he’s staring. Can he hear my thoughts ? I hope not. He and Bella meet soon, if I remember correctly so— Jacob’s anxiety skyrocketed under the weight of that gaze. His heart pounded in his chest, each beat drumming in his ears. A tight knot of dread twisted in his stomach and whether it was the rain or not, he could feel cold sweat forming on his palms. He needed to say something—anything—that wouldn’t completely derail the plot but also wouldn’t make Edward hate him from the start, even if it was inevitable.

“Oh uh — my bad, dude. I just thought you looked kinda sick so I thought — I mean,” Jacob scrambled for an explanation, forcing a nonchalant tone as he released Edward’s elbow. He felt like a small animal trapped in the headlights of an oncoming car, desperately searching for a way to escape unscathed.

“—Uh, here.” He shoved the raw steak he had just bought into Edward’s arms. The system fell silent for a moment, as stunned by his actions as Jacob was. The sound of the rain was almost deafening as awkward silence stretched between them. Edward looked down at the raw steak in his hands, confusion and surprise painting his features.

Without waiting for a reply, Jacob quickly turned on his heel and hurried away, his footsteps splashing through the rain-soaked pavement. “Later ! Get that iron up and be the lady killer you were born to be !” he called over his shoulder. After walking a few metres, he paused briefly and added,“ And seriously lay off the sauvage man !”

As he put more distance between them, Jacob’s thoughts began to spiral. What had he just done ? Did Edward think he was completely nuts ? Or worse, could Edward have read his thoughts and seen through his facade ? Jacob shuddered at the possibility.

[Why did you do that ?]

“I don’t know okay !? I thought it’d help with looking y’know less dead when he meets Bella.” He shrugged. Explaining himself to the system felt pointless considering it was neither his parent nor his babysitter. The system remained silent, as if considering his response, Jacob rolled his eyes.

[OOC ! -20 B points ↓ ↓ ↓]

“Oh come on !”

“Still staring at that bag of steak, Ed ?” The pixie-haired woman leaned over her brother’s shoulder, teasing him.

“Go away, Alice,” Edward muttered, his gaze still locked on the steak as if it held some profound answers of the universe. His fingers occasionally running over the plastic, making the blood inside to squelch against the surface.

“Seriously what’s up with you ?” Alice frowned, dropping the banter. Ever since Edward had returned, he’d been fixated on this bag of steak that suspiciously smelled like wet dog. What was even more peculiar was the fact that she hadn’t had any visions of this event. Normally, Alice caught glimpses of all the interesting things happening with her family throughout the day but she had no clue how Edward had ended up with that steak. And from the look on his face, Edward didn’t look like he was divulging anything either.

“Nothing just… trying to figure someone out.” Edward sighed. Alice was his favorite family member, and he seldom told her off but this was something he couldn’t even make sense of himself. If he told Alice, she’d likely blow the whole thing out of proportion. But despite everything, one question kept lingering in his mind.

Who was that man ?

A.n - should I make this into a series ? If yes please lemme know if you want to be added to the taglist.

[anim-ttrpgs]

Fairytale Witch Player Character Rules in Eureka: Investigative Urban Fantasy

Eureka has six playable "monster" types, and about ten total supernatural character options all together. Each supernatural trait is taken basically as if it is a normal trait like the ones you have been seeing us post. You cannot give a character more than one supernatural trait--and from what you are about to read, you probably wouldn't want to. Playing monsters is recommended for "advanced" players only, people who like a lot of "crunch" in their games, as require you to keep track of a lot more mechanics than playing a normal human.

Here is the Fairytale Witch Trait. This is going under a Read More because it's long as hell but we really hope that you will check it out and comment. This is, like, the whole entire ruleset for playing a witch in Eureka.

Fairytale Witch (Monster Trait) 

A “witch” has been many things throughout history, so many things in fact that it is quite difficult to form a cohesive thesis statement about them, and, like vampires, and the Hollywood werewolf, are something whose origins are obscured and severely misunderstood by more recent pop culture and pop history.[1][2][3] The “fairytale witch” in Eureka draws inspiration from a vast range of folkloric sources, ancient, medieval, and early-modern. Literary and folkloric figures, typically women, who wield the power to heal and to harm, and whose aid or ire are nearly always earned.

[1. Off to the side in the final formatting] And like those things, many things which were said to be witches were not and are not.

[2. Off to the side in the final formatting] Certain more recent folkloric elements of the idea of “witchcraft,” including sacrifice and drinking of specifically children’s blood, have been deliberately omitted from mechanization, as these elements stand as direct and recent foundations of present-day antisemitic conspiracy theories. Both in real life and in Eureka, grand conspiracy theories are a comforting fantasy for those who turn a blind eye to actual problems which stand right in front of their face. 

[3. Off to the side in the final formatting] Most witch trials happened in America during the Enlightenment.

Fairytale witches in Eureka may draw on ancient knowledge of these arts passed down generationally, may have learned these abilities from their peers, or may have simply stumbled upon this knowledge some other way and discovered that, while it is simply a silly fantasy to most others, they have an exceptional talent for it.[1] Now what will they do with this power?[2][3] This particular Trait tackles some different themes compared to the other monsters.

[1 off to the side in the final formatting] Regardless, this is not something which can be taught to others over the course of an investigation. Plus, it’s said most people simply lack the talent for it in the first place.

[2 off to the side in the final formatting] Witches are not satanic, at least not literally. The idea that “the Devil” can grant anyone any arcane power is found nowhere in the Bible.

[3 off to the side in the final formatting] You couldn't imagine the hazing.

A lot of a witch’s powers hinge on them knowing someone’s “full true name.” What exactly is meant by a person’s “full true name” is a matter of discussion between player and Narrator, but as a general guideline, if a person is named Jeremy Matthew Jones IV, then “Jeremy Matthew Jones IV” is needed, and just “Jeremy Jones” or “Jeremy M. Jones” won’t be enough. Nicknames also do not generally count.

A fairy cannot make their magic work by just guessing a person’s true name, but a witch can.

Curses

Assuming they have the right materials, a witch can place a terrible curse on an unsuspecting victim from anywhere in the world. More powerful curses have two stages, while simpler curses peter out or fall off after about a week.[1]

[1. Off to the side in the final formatting] For all the many terrible things that the medieval Church was, stagnifying and technologically regressive do not make the list. The institution of the medieval Church was one of philosophy, education, and what we would now call “science,” and medieval clergymen were by and large literate, and relatively well-educated men for the time. The medieval Church’s suppression of “witchcraft” had less in common with the “satanic panic” of the 80s, 90s, and 2000s, and more to do with the idea that even believing that “the devil” or pagan gods could grant anyone wicked powers was a dangerous superstition, enabling of swindlers and charlatans, and this was likely to result in the wrongful persecution of people who behave oddly, as well as, and especially, Jews. This was true of the “satanic panic” and is still true today.

[1.1. Off to the side in the final formatting] This is not to posit that the medieval Church was a champion of religious freedom and equality. One might say they wanted uncontested control of who got to persecute Jews and exactly to what degree.

Casting a Curse Directly

In order to place a curse directly on a target, the witch must be in possession of the target’s full true name[1] clearly written on some material, or a large sample of their DNA (such as a large lock of their hair), or both. These items are destroyed as a part of the casting process.

[1. Off to the side in the final formatting] What exactly is meant by a person’s “full true name” is a matter of discussion between player and Narrator.

Casting a curse requires a supernatural ability Composure roll.

Casting a curse takes 1 Tick or 5 Actions, during which all components are destroyed.[1] The curse will last for 7 days by default before either wearing off completely, or advancing to the next stage. As the curse is cast, roll 1D6+1+[Relevant Skill]. Which Skill is used will vary depending on the curse. The result is the number of days by which the witch may extend or reduce the curse's duration. If the curse is an advanced two-stage curse, the result is the number of days by which the witch may extend or reduce the first stage’s duration. If the result is a negative number, reduce the witch’s Composure by the same amount. A witch may use the Focus Eureka! Point ability to add an additional 1D6 to this roll (and this also adds 1D6 to the advanced curse roll, below).[2]

[1 off to the side in the final formatting] What the act of placing a curse actually looks like varies from witch to witch.

[2   off to the side in the final formatting] This works exactly like using the Focus ability when Incapacitated - add 1D6 per Eureka! Point spent to the roll, and then drop all but the highest two.

If a simple curse is reduced to a duration of “0 days,” it will only take effect for the duration of a single Scene. If the first stage of an advanced curse is set to “0 days,” the curse will advance to the second stage immediately.

When an advanced curse is cast, after the witch decides the effect of the second stage (see below), roll an additional separate 1D6+1+[Relevant Skill]. The result is the number of days by which the witch may extend or reduce the second stage’s duration. Like with a simple curse, the default duration is 7 days, after which the effects will wear off completely.

If the witch only has one of these components, then only a simple curse can be cast. If the witch has both the full true name and the DNA sample, an advanced curse can be cast. If the witch mistakenly has the true name and the DNA of two separate people, then, unbeknownst to the witch, both of those people will be struck with a simple curse.

Witches may place curses upon themselves if they so desire, without needing to use their own full true name or DNA.[1] 

[1 off to the side in the final formatting] They’ve already got it.

A second curse placed upon the same target will extend its duration, but only the effect of one type of curse can apply at once. If a simple curse is placed on a target already suffering the effects of an advanced curse, the simple curse will fail to take effect. If a different kind of advanced curse is placed on a target already suffering the effects of an advanced curse, the new curse will replace the previous curse if the caster can make a Full Success on a skill check with the new curse’s relevant Skill. 

Effects of Simple Curses

A simple curse makes the target suddenly feel extremely feeble and ill.[1] The target will have a -2 modifier applied to all Skill rolls for the duration of the curse’s effect. Simple curses that have no advanced stage always use the Medicine Skill. 

[1. Off to the side in the final formatting] Symptoms include shortness of breath, nausea, fatigue, muscle weakness, loss of appetite, excessive sweating, dizziness, and a sense of impending doom. However, no medical doctor will be able to diagnose exactly what is causing the problem.

Effects of Advanced Curses

Advanced curses typically have two stages, with the first stage appearing nearly identical to a simple curse, with all the same effects. When the second stage takes effect, the effects of the first stage cease. The effect of the second stage is decided as the curse is being cast, before the 1D6 is rolled.

Each advanced curse has a different Skill associated with it. This Skill is used for both the first and second stage of the curse. 

Curse of Transformation

This curse uses the Nature Skill. The target will be spontaneously transformed into an animal of the witch’s preference.[1]

[1 off to the side in the final formatting] Their clothes don’t transform with them.

The witch must make a Full Success on a Nature roll to choose an animal that is not on the following list.

Cat

Frog

Mouse

Newt

Pig

Rat

Toad

Wolf[1]

[1 off to the side in the final formatting] For the stats of a wolf, see p.xx “Werewolf”. The rest of these do not have official stats, but we expect you to be able to figure out what they would be good and bad at.

The target will maintain a functional degree of human intelligence while in this form, at least for some time. Once their human mind is lost, the curse cannot be removed, and will never revert after any amount of time. The curse will also never revert if the target dies while transformed.

For an NPC, the Narrator rolls a hidden 1D6+3. This is how many days the target will retain their humanity.

For an investigator, the Narrator rolls a hidden 1D6. After this number of days, if the transformed investigator ever reaches 0 Composure, their humanity will be lost.

Curse of Reduction

This curse uses the Visual Calculus Skill. The target will be spontaneously reduced to between 5% and 10% of their original size.[1][2][3][4]

[1 off to the side in the final formatting] Their clothes and items may or may not shrink with them, at the caster’s preference.

[2. Off to the side in the final formatting] For a 72” person, that would be between 3.6” and 7.2”.

[3. Off to the side in the final formatting.] In most cases, a person reduced in size like this will be at the mercy of the witch, and can be captured without any rolls needed. However, they still have opposable thumbs, and the means to explain the circumstances to others. Witches may wish to weigh the pros and cons of this compared to transformation into a rat, which can make victims quite hard to catch if they start running right away.

[4 off to the side in the final formatting] A person reduced in size counts as one meal. 

If the target dies while shrunken, the curse will never revert.

Curse of Petrification

This curse uses the Chemistry Skill. The target, including their clothes, will be spontaneously turned to stone. At the preference of the caster, they may or may not retain awareness of their surroundings. If kept aware, they will lose 2 Composure per day, and if unaware, 1 Composure per day, until they are effectively dead, at which point the curse cannot be reverted.[1] If the curse is reverted, either by it wearing off before the point of no return, or being broken, any damage the target sustained as a statue will immediately take effect. For example, chips in their stone body become lacerations in their living body. If an arm was broken off of the statue, their arm is now severed. If the statue suffers fatal damage, the curse will not be able to be reverted. If unaware, then reverting the curse will feel like waking up from a long and restless sleep. The target does not need to eat or sleep so long as they are petrified.

[1 off to the ads in the final formatting] For NPCs, consider them to have 1D6+1 Composure to lose before it starts to eat into their Superficial HP.

Curse of Slumber

This curse uses the Medicine Skill. The next time they fall asleep, the victim will fall into a coma-like state for the duration of the curse. The target will lose 1 Composure per day until the curse either reverts or they die.[1] Unlike with petrification, the body must breathe and be fed during this time.

[1. Off to the side in the final formatting] For NPCs, consider them to have 1D6+1 Composure to lose before it starts to eat into their Superficial HP.

Curse of Death

This curse uses the Blacked Out Skill. The target begins to take 2 Superficial Damage each day for the duration of the curse or until they die, and will be unable to regain HP or Composure through sleep. In addition, apply a -3 modifier to all their rolls.

Defense Against Curses

Upon being struck with a curse, a witch can recognize the intended effect, and may immediately make a Skill check of the curse’s relevant Skill in order to cast it off. This will take one Movement if time is measured in Turns.

Full Success: The curse is fully cast off.

Partial Success: The curse is partially cast off. The witch will suffer only the simple effects, at half the intended duration, and no advanced effects.

Failure: The witch will suffer the full effects of the curse as usual.

Placing a Curse on an Object

Cursing an object works similarly to placing a curse on a person, except no names or DNA are needed, the witch need only be holding the object with bare hands. The default duration of the first stage is 7 days and so is the second stage. Roll 1D6+1+[Relevant Skill] for each to determine by how much the witch can adjust them. After the witch has removed their hands from the object, it will be actively cursed, and anyone who touches it with bare skin, including the witch themselves, will be cursed. The Narrator rolls a hidden 1D12. The result is how many times the curse will transfer to people who touch the object.

Breaking a Curse

There are a number of ways a witch may know to break a curse. If the ailment is not immediately identifiable as a curse, a Full Success on a Blacked Out check by a witch will positively identify whether it is or not. 

The death of the curse’s caster will not remove the curse. 

Manual Removal of the Curse

A curse can be removed in the same way it was cast. If the curse was cast using a true name, the witch can remove the curse using the victim’s true name. If the curse was cast using DNA, the witch can remove the curse using the victim’s DNA.[1] If both, it requires both. Regardless, this takes 1 Tick or 5 Actions. If neither, the curse cannot be broken in this way.

[1. Off to the side in the final formatting] This has to be the victim’s human DNA. If they have been transformed into an animal, their new form’s DNA will not suffice, it will have to be something removed from their body before the transformation.

True Love’s Kiss

A kiss can sometimes be all it takes to lift a curse. The Narrator rolls a hidden D6 once the victim has been kissed. On a 7+, the curse will be broken by the kiss. If it fails, another kiss from the same person will not work either.[1] If time is measured in Turns, this will take an Action from the kisser.

[1. Off to the side in the final formatting.] Morgie’s kisses always lift curses.

Add +1 to the roll if the kisser truly loves the victim.

Add +1 to the roll if the kisser is female.

Add +1 to the roll if the kisser is of noble or royal lineage, or is a fairy.

Curse Removal and Cure by Potion

If all else fails, a potion can be brewed to lift the curse. A potion to lift a specific type of curse will require the same recipe as a potion that would have caused that type of curse, plus one additional Table 3 ingredient. However, the victim must be able to drink the potion for it to take effect, meaning a curse of petrification cannot be lifted in this way. See p.xx “Brewing Potions”. Using the same method, a Non-Lethal or Lethal Poison Potion can have an extra Table 3 ingredient added to make them antidotes for their respective poisons, and a Love Potion can have an extra Table 3 ingredient added to make it a cure for Love Potions, etc. 

Brewing Potions

If there’s one thing witches are known for, it’s potions.[1] Potions represent the most reliable and effective vehicle of a witch’s magic, and are often something of a magic spell in and of themselves.[2][3]

[1. Off to the side in the final formatting] A large metal cauldron is classic, but takes up a lot of space in an apartment, so a stovetop is usually fine.

[2. Off to the side in the final formatting] The “magic words” may or may not have any true power in and of themselves. Sometimes, the time it takes to recite the entire “spell” three times is just about how long the potion needs to be left on the heat.

[3. Off to the side in the final formatting] In the Middle Ages, until about the mid-1400s, the conception of a “witch” was often cautiously positive, and may conjure up the image of an unmarried woman living outside of town who has vast generational knowledge to draw upon in the way of midwifery techniques, herbalism, medicine, and poison.

When a witch brews a potion, it is often going to be something of an ordeal to gather all the right ingredients, but the payoff will be an effect that the witch can set the exact delay and duration of, and which can be applied to anyone who consumes it, bypassing both the element of uncertainty, and the prickly details, of casting a curse by hand. A successfully brewed potion can be made to have any length of delay between consumption and effect, and the effect can be made to last for any length of time, including permanency.

Potion brewing is as much an art as a science, and no two brews will be the same, even if they aim to achieve the same effect across the same duration. The process of brewing a magic potion is influenced by factors barely understood by the witch and certainly not under their control, it won’t be until the the process is underway that it becomes clear exactly what is needed to finish the concoction.[1][2] Not counting the time required to gather the ingredients, a witch must spend at least 1 Tick a day attending to the potion in between the time the base is added and the final two ingredients are added, as well as 1D6 Ticks finishing the potion once all of the ingredients have been added.

[1. Off to the side in the final formatting] When it became clear that prayer alone would not suffice, ordained priests may be the village’s most avid practitioner of “folk magic.” Folk “magic” of course just being another word for an observable effect to which the cause is not fully scientifically understood.

[2. Off to the side in the final formatting] Sometimes, the ingredients required for a potion will be realistically impossible to obtain in certain scenarios.

Every potion has three ingredients: A base, which is always going to be the same for the kind of effect the witch is trying to achieve, and two additional main ingredients which will become clear only after the brewing process has begun.[1] See below for the list of possible potion effects, the required bases, and the two other ingredients, which will be rolled on the relevant ingredient tables.

[1. Off to the side in the final formatting] This is not literally all the ingredients, just the ones that matter most mechanically and which will not be understood until the process has begun. The witch will be throwing all sorts of things in there in the meantime.

The base for a potion must be acquired and added, and after the other two required ingredients become known, those too must be acquired and added. For ingredients that would be reasonable to have on-hand, a Wealth roll using the witch’s home (or whatever home they’re doing this in) may suffice, but many ingredients will require the witch and any other investigators willing to help them to divert their plans to seek them out. If the investigators decide that a particular potion is necessary for their progress towards solving the mystery, then consider rolls that seek to gather information on where to find the necessary ingredients to count as Investigative Rolls.

Potions do not work on any subject unable to ingest or digest them.

Any potion which applies an advanced curse’s effect does so without applying the effect of the first stage.

If a potion is intended to be mixed with food, a witch may take steps to make the potion more difficult to detect by taste or smell with a Blacked Out or Chemistry roll, hidden by the Narrator.

Full Success: The potion is impossible to detect once it has been applied to or mixed with food.

Partial Success: The potion may be detected by a Full or Partial Success on a Senses roll.

Failure: The taste or smell of the potion is immediately obvious to just about anyone.

To make a potion undetectable in an autopsy or other examination of the victim, a witch can make a Chemistry or Blacked Out roll.

Full Success: The remnants and evidence of the potion in the victim’s system will dissipate completely before any examination can be conducted.

Partial Success: Evidence of the potion within the victim’s system will be undetectable by normal means, but a witch may still be able to identify it.

Failure: Any medical examiner will be able to detect the traces of the potion, but only someone versed in witchcraft will be able to properly identify it.

Potions which apply the same effects as curses count as those curses for all intents and purposes, including their removal. Thus a curse caused by a potion could be removed by use of the victim’s hair and true name, by use of a curse-removing potion, or by a kiss.

Starting the Adventure with Potions

A witch can start the adventure with potions already in their inventory in exchange for WP, either because they recently brewed them, or bought or traded from another witch (who is unavailable for a refund of takeback during the adventure). The witch will not be able to buy potions during the adventure. Any potion bought by WP in character creation can be made curative by spending 1 extra WP. (See p.xx “Curse Removal and Cure by Potion”.)

2WP: Random potion.[1] Roll 1D6+1D12 on the list of potions.

[1. Off to the side in the final formatting] It’s only random to the player, not the witch. They know what they got it for. 

4WP: Specific potion. Choose any one potion from the list.

List of Potions

2. Potion of Invisibility

Cat (boiled live), Table 3, Table 3. Renders one invisible to the naked eye for a single Scene, including clothing and small held items.

3. Potion of Transformation

Blood of the animal that this potion is intended to turn someone into, Table 3, Table 3. Applies the second stage of a transformation curse. See p.xx “Curse of Transformation”.

4. Potion of Petrification

Powdered marble, Table 2, Table 3. Applies the second stage of a petrification curse. See p.xx “Curse of Petrification”.

5. Potion of Waking Sleep

Apple, Table 2, Table 3. Allows one to remain awake for one full night without suffering any Composure loss.

6. Love Potion

hair of the subject of affection, Table 2, Table 3. All rolls made by the subject of affection towards the drinker of the potion have a +2 Contextual modifier.[1][2][3]

[1. Off to the side in the final formatting] This works like any other curse - though it can only be applied by a potion, the love potion’s effect may be undone by other means (e.g. with a sample of DNA and the person’s full true name).

[2. Off to the side in the final formatting] The world is a little fuzzier when the subject of the affection is in view, but their voice is always loud and clear.

[3. Off to the side in the final formatting] Easily slipped into a drink - one more reason to be vigilant at bars.

7. Potion of Slumber

Sand, Table 1, Table 3. Applies the second stage of a slumber curse. See p.xx “Curse of Slumber”.

8. Potion of Nourishment

Bread crumbs, Table 1, Table 3. Consuming this counts as 3 daily meals at once.

9. Potion of Death

Rat (boiled live), Table 1, Table 2. Applies the second stage of a death curse. See p.xx “Curse of Death”.

10. Sleep Aid

Wolfsbane, Table 1, Table 1. Grants one 1 additional point of Composure restored after a single full night’s rest.

11. Pain Relief

oak bark, Table 1, Table 2. Grants one 1 additional point of Superficial HP restored after a single full night’s rest.

12. Potion of Glamour

Lavender, Table 1, Table 3. Apply a +2 Base bonus to this character’s Charm and Seduce Skills for a single Scene. 

13. Non-lethal Poison

Thorns of a thorny plant, Table 1, Table 3. Applies Poison (Non-lethal, OT: Witch’s choice, DF: Witch’s choice). See p.xx “Non-lethal Poison”.

14. Potion of Healing

Copper shavings, Table 1, Table 3. When applied with a Medicine roll, add +2 to the amount of HP restored, even with a Failure. This can also rid the body of non-chronic diseases, such as a short-term virus or bacterial infection. 

15. Juice that Makes You Explode

Gunpowder, Table 2, Table 3. When the potion takes effect, the Narrator rolls a hidden D6. On a 6, This causes the consumer to violently explode as a Shrapnel Explosion. On a 1-5, the option has no effect. See p.xx “Shrapnel Explosion”.

16. Lethal Poison

Hemlock, Table 2, Table 3. Applies Poison (Lethal, OT: Witch’s choice, DF: Witch’s choice). See p.xx “Lethal Poison”. 

17. Potion of Soothing 

Simmered liquor, Table 2, Table 3. Restores 3 points of Composure.

18. Potion of Reduction

Salt, Table 3, Table 3. Applies the second stage of a reduction curse. See p.xx “Curse of Reduction”.

Potion Ingredients Table 1

A witch with a +2 or higher in Nature can roll a second time on this table and use either result in the potion.

1,1. Beetroot

1,2. Beetroot

1,3. Adder’s fork (trout lily)

1,4. Beetroot

1,5. Wolfsbane

1,6. Yew leaves

2,1. Tiger’s blood

2,2. Oak leaves

2,3. Blind-worm’s sting (wormwood)

2,4. Eye of Newt (mustard seed)[1]

2,5. Eye of newt (actual)

2,6. Gecko’s blood

3,1. Tongue of dog (houndstongue, the plant)

3,2. Tongue of dog (actual)

3,3. Lizard leg (ivy)

3,4. Lizard leg (actual)

3,5. Owlet’s wing (garlic)

3,6. Owlet’s wing (actual)

4,1. Scale of dragon (the plant)

4,2. Tooth of wolf (club moss)

4,3. Tooth of wolf (actual)

4,4. Gall of goat (st. John’s wart)

4,5. Bloody fingers (foxgloves)

4,6. Bloody fingers (actual)

5,1. Tiger’s chaudron (lady’s mantle)

5,2. Baboon’s blood

5,3. Toe of frog (buttercup)

5,4. Toe of frog (actual)

5,5. Fillet of fenny snake (arums)

5,6. Wool of bat (holly leaves)

6,1. Wool of bat (actual)

6,2. Snakes

6,3. Snails

6,4. Puppy dog tails

6,5. Rose petals

6,6. Snips (eels)

[1 off to the side in the final formatting] There is little evidence that “eye of newt” and “lizard’s leg” and stuff like that was actually code for regular household ingredients, but there’s also little evidence that every witch would know that.

Potion Ingredients Table 2

A witch with a +2 or higher in Chemistry can roll a second time on this table and use either result in the potion.

1,1. Human hair

1,2. Cobwebs

1,3. Sugar

1,4. Human urine

1,5. Human bone

1,6. Human wart

2,1. Cat’s whiskers

2,2. Dog hair

2,3. Snake egg

2,4. Feather of crow

2,5. Chicken egg

2,6. Shark’s tooth

3,1. Booger

3,2. Salt

3,3. Silver shavings

3,4. Copper shavings

3,5. Tobacco

3,6. Gold shavings

4,1. Iron shavings

4,2. Magnet

4,3. Human liver

4,4. Human nose

4,5. Human lips

4,6. Sand from an hourglass

5,1. Bronze shavings

5,2. Aluminium shavings

5,3. Honey

5,4. Gunpowder

5,5. Rabbit’s foot

5,6. Eye of spider

6,1. Ocean water

6,2. Expired milk

6,3. A piece of burned meat

6,4. Tail of rat

6,5. Nightshade

6,6. Neon

Potion Ingredients Table 3

A witch with a +2 or higher in [Blacked Out] can roll a second time on this table and use either result in the potion.

1,1. Cat (boiled live)

1,2. Human hair (red)

1,3. Something sold based on a lie

1,4. Candy stolen from a baby

1,5. Witch’s blood

1,6. Washwater from the sheets of a deathbed

2,1. A picture taken moments before disaster

2,2. Something thrown away in anger

2,3. Blood drawn from a toe

2,4. A murder weapon

2,5. A family photo.

2,6. A divorcee’s wedding ring

3,1. Powdered skull from two-headed cow.

3,2. Cremated human remains

3,3. Picture of a sniper rifle from a video game released in 2009.

3,4. Ash obtained by burning wood from a shipwreck

3,5. a silk mourning veil (used)

3,6. Something stolen from a neighbor

4,1. Coffin nails

4,2. grave dirt

4,3. Blood of a virgin

4,4. Pants of Matt

4,5. A pet’s favorite toy

4,6. wine which has not seen the sun for at least ten years

5,1. Hair of a murderer

5,2. Orphan’s tears

5,3. Sock of Matt (oven baked)

5,4. Engagement ring (used)

5,5. A flower picked as it blooms under a full moon.

5,6. An adorable sneeze

6,1. Love

6,2. Water from the lungs of a drowned man

6,3. Menstrual blood

6,4. Gamer girl bath water

6,5. Something stolen from a friend

6,6. Human semen

Casting Spells

Without taking up a Trait slot, a witch can be considered to have any Power from the Mage Power List, but only one at a time. Swapping between these Powers requires a non-skill supernatural ability Composure roll, as well as taking an Action if done in combat. 

Enchanted Vehicle and Flying

As a non-skill supernatural ability, the witch may enchant a vehicle, broom, or other object of similar category (or theming), allowing it to fly under their control so long as they are piloting it.[1] The enchanted object will not fly for anyone but the witch, and will become inert soon after the witch stops piloting it. If done in combat, this takes 1 Action.[2][3]

[1. Off to the side in the final formatting] Old-fashioned brooms are traditional, but there are a number of other objects, modern or otherwise, that would logically be suitable as a substitute. Figure it out.

[2 off to the side in the final formatting] As a warning, virtually any flying vehicle will be extremely obvious and visible during the daytime.

[3 off to the side in the final formatting] Watch out for birds.

Witches have a “Flying” Write-in Skill, used in place of the Athletics skill when piloting either a flying Manually Powered Vehicle, or a flying household object. It does not allow the witch to fly without an enchanted object. Unlike other Write-in Skills, the Flying Skill starts at 0 and can be set to any value between -3 and +3, so long as all of the witch’s Skill modifiers still add up to 0.[should this be able to go below 0?]

A roll is not required to control this device under normal circumstances, but intense maneuvers will require a Flying or Driving roll.

Flying objects have an Acceleration of +12, unless the object already has a higher Acceleration.

If I Can’t Have You, No One Can (Fairytale Witch True Nature)

Flat Composure Damage from Skipping Meals = Yes

Composure restoration from Three Meals a Day  = Yes

Flat Composure Damage from Skipping Sleep = Yes

Composure restoration from Full Night’s Sleep = Yes

Eating people, or using one’s powers against others for petty and/or entirely selfish reasons will restore a witch’s Composure, though the witch has no connatural need to do these things.[1]

[1 off to the side in the final formatting] A witch can’t stop being a witch any more than a soldier can stop being a soldier.

For use of powers, an act that temporarily affects the victim will restore 1 point of Composure, and an act that permanently affects the victim will restore 2 points of Composure. These acts do not necessarily have to involve the use of magic. If the witch has a non-magical opportunity to exert power over another individual for petty and/or entirely selfish reasons, this could work as well. 

For eating people, making a meal of a person will restore 2 points of Composure. Making a meal of a person who was alive until moments before preparation and consumption, or is still alive when consumed, will restore 3 points of Composure. If the victim happens to be a former friend or lover of the witch, restore 1 additional point of Composure.[1][2][3][4]

[1. Off to the side in the final formatting] This only restores Composure one time per victim. Eating multiple meals made from the same person will not restore Composure for each meal.

[2. Off to the side in the final formatting] Clever witches are said to make use of magic to consume their enemies more efficiently.

[3 off to the side in the final formatting] Eating the flesh of a human that has been transformed into an animal by a curse does count, at least for Composure restoration. This is also, probably, a lot healthier.

[4 off to the side in the final formatting] If the witch makes multiple meals of a single person, only the first meal will restore the extra Composure. Any leftovers will count as “normal” food. 

Dangerous Games (Fairytale Witch Weakness)

As relatively normal people (at least by monster standards), fairytale witches don’t have much in the way of supernatural weaknesses, except for the fact that their bodies simply can not handle excessive prolonged use of so many arcane powers.

Whenever a fairytale witch uses a non-Skill supernatural ability, the Composure roll is made at -3 instead of +3. There are, however, ways to reduce the strain these acts of sorcery put on the body.

Casting Implements

There are certain tools of the trade which can relieve some of the strain by drawing the energy out of the witch’s body before manifesting it in reality or facilitating it by other means. [this sentence kinda sucks but I’m on 5 hours of sleep. Fix it in copy-editing]

Each casting implement in use provides a bonus to the non-skill supernatural ability Composure roll a witch makes to use her powers. A casting implement must be being touched (or held telekinetically) by the witch in order to provide this bonus.[1] The cumulative bonus given by all of a witch’s casting implements cannot bring the Composure roll higher than a cumulative +3. The process by which an object is prepared to be used as such a device is arcane and cannot be accomplished mid-adventure, nor can one of these be bought with a Wealth roll mid-adventure. They can only be acquired through Wealth Points.

[1. Off to the side in the final formatting] The implement does not *necessarily* have to be pointed in the direction of the target of the power, but many witches find that this helps them focus.

Jewelry 

+1 [2WP] A piece of jewelry. Multiple can be worn to further defer strain and increase the Composure roll bonus.

Wand

+1. [1WP] Could be a gnarled old stick or a black rod with a white tip, or anything in between, as long as it is elongated and about 10 to 24 inches. Only one wand or staff may be in use by the witch at a time.

Staff

+2 [1WP] Like a larger, more heavy-duty wand. Must be at least as tall as the witch themselves. Only one wand or staff may be in use by the witch at a time.

Spell Book

+1 [1WP] Could be an old leather-bound tome, or a spiral notebook containing the witch’s scribbled research notes. Must be opened and read from to confer a bonus, but does not necessarily need to be touched. Only one spell book can confer a bonus at a time.

[writers-potion]

Vampires, Werewolves, Zombies

They are human, but not quite. Although these entities are deeply embedded in the human psyche, they have not single definite form.

Here are some notes about these paranormal creatures of 'The Universal Unconscious', and ideas about how to tweak them.

Vampires

First stories about vampires as we know them appeared in the 18th C and developed in the early 19th C.

In 1819, a young English doctor wrote The Vampyre, featuring the character Lord Ruthven. An aristocratic fiend, immortal, seductive, and dangerous, he soon became popular.

It inspired Bram Stoker's novel Dracula. Count Dracula then became the archetype from whom most literary vampires evolved.

Sparkling vs. Traditional

Broadly, vampire would fall into 2 types:

Sparkling ones where vampires are more or less benevolent/heroic, less of a monster but a tormented human.

Traditional vampires who are creepy and dangerous.

It doesn't matter which of these you write!

Vampire Tropes

is 'undead' in a state between living and dead

drinks human blood

has an adverse or strange reaction to sunlight

sleeps in a coffin

needs to sleep on native soil, therefore carries some soil with him

remarkably handsome

seductive

pale

low body temperature

has two long retractable fangs

averse to garlic and silver

cannot bear the sight of a crucifix

suffers pain or injury when touched by holy water

cannot enter a home without being invited

can hypnotize humans

can impose his will on humans

not reflect in mirros

can fly

may be a loner or part of a hierarchical society

drains human's life force to replenish its own

immortal (almost)

superhuman strength

can be killed with a wooden stake through the heart

vampires are former humans, "turned" by a bite

when bitten by a vampire, a human weakens, dies, or becomes a vampire.

Werewolves

While wolves are the most common were-humans, humans turning into other animals are also popular.

Werewolf Tropes

normally lives as human, but turn into a wolf with certain triggers

the full moon is a common trigger

superhuman strength

possessive

loyal

dangerous

jealous

organized in hierarchical packs

may be able to change shape at will

lives an ordinary human life and keeps the turning a secret

can be killed with a silver bullet

a bite from a werewolf infects, and the bitten person becomes a werewolf.

immortal

Zombies

Through flesh-hungry undead have been a feature of ancient stories like the epic of Gilgamesh, the zombie as we know it today is rather modern, stemming from George A. Romero's 1968 film Night of the Living Dead.

The word "zombie" stems from the Haiti Vodun tradition, but was not applied widely to flesh-eating undead corpses until the second half of the 20th century.

Zombie Tropes

reanimated corposes

infected as a virus (often in a worldwide pandemic)

mindless, cannot be reasoned with

hunger for human flesh

appetite for brains

craving for salt

relentless, purpose-driven

retains some physical features and personality traits of the person they used to be

sickening smell of rotting flesh

body slowly rots, with parts dropping off

move in hordes

keeps living in this undead state despite injuries that cannot be survived.

besiege human dwellings.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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[laurasimonsdaughter]

Did you know in NRW/the Ruhr area specifically there are myths/old tales of people becoming werewolfs not by infection or full moon, but by putting on a belt cursed by the devil?

Wonder why that never caught on :o

Yes! That's also the version of werewolfism that's most common in the Netherlands (where I'm from). Althought the devil component isn't always explicit. Having the belt (or wolfskin, occasionally) and passing it down through the family seems to be a curse in and of itself. Though some werewolves in the story clearly make use of it gladly.

Both the full moon and the infection through bites are more modern, literary inventions. Werewolfism used to be tied to other things, like deals with the devil, curses, ill omens, or things like being born the seventh son of a seventh son (or daughter, occasionally). I rambled about different ways to become a werewolf in this post.

I really like the idea of having a wolfskin or wolfskin belt to transform, but I understand why it's not popular in modern fantasy. It makes the werewolf thing feel more like magic (which it often is in folklore) and less like something inherent to the person. It's also fairly easy to solve, as in most folklore burning the belt cures the werewolf. (Sometimes it kills them, but usually not.) It also implies an element of choice, even though folklore often describes that wearing the belt is a compulsion.

I'd be stoked to see more people use it though!

[prongsfish]

remus lupin headcanons?

oooohh thank you for this i love talking about headcanons... remus lupin the loml <33

i think most people agree that he'd be a big reader- i imagine him as a big fan of classic literature, no matter what era he lives in, and i just have a feeling that he'd like romantic poetry (the literary movement, not the adjective)

his favourite films are velvet goldmine, la la land, boogie nights, and fantastic mr fox

i imagine him to be somewhat quiet relative to his friends, and as having a dry sense of humour. while i see james as an only child who needs a lot of attention and compensates with lots of friends, remus learnt how to entertain himself by being pretty isolated as a kid as both an only child and a werewolf, and he's probably the best at functioning in solitude out of the four marauders

he'd wear a lot of thrifted clothing, and he'd be a professional at it. he knows all the most durable materials and brands, knows how to tell if something is actually vintage or a poor imitation, and always manages to find something great. he values quality over style, but he definitely has an obvious style—it's just determined by the quality factor rather than a conscious taste in fashion

in a modern setting, he's a total media purist/elitist. he looks down at digital forms of media, dislikes 90% of music genres, rants about "booktok" but further than that won't read anything that can't be considered a classic. like suuuper fucking annoying

he would be a fantastic barista

loves learning languages, is conversationally fluent in several

when coming up with pranks, sirius and james were always the best at coming up with the ideas, but remus was the one who ironed them out. he wasn't creative in that way like they were, but while they were too excitable and ambitious to focus on the details, he made sure they did all they could to avoid any kind of failure

loves kids, but wouldn't have his own. he's generally terrified of messing up with them, even without the way he demonises himself because of being a werewolf. i think both he and sirius would have very self-hating reasons as to why they wouldn't want kids of their own, and neither agree with the other's, but it's never properly addressed because unfortunately it works out with them agreeing. they'd both be fantastic uncles though, and would majorly spoil all of their friends' kids

despises the idea of being given "hand-outs" and is veryy touchy about receiving help, especially financial help

he loves museums of all kinds

in a muggle high school, he'd earn extra money by tutoring younger students, and he'd be constantly told by everyone around him that he'd be a great teacher

he'd love word and number puzzles, he'd have heaps of books full of crosswords and sudokus

[maverick-werewolf]

Hey hey master of lore, will you please recommend me some vampire stories or novels that depict old school vampires? You know, the good old pre-Dracula kind. I haven't been able to find a vampire like this in fiction since... well, since Dracula appeared.

I FORGOT ABOUT THIS I AM SO SORRY OMG

Unfortunately, though, I have no idea. :( Ever since I started researching vampires in my childhood, I was amazed to learn about the whole Dracula thing and the massive influence it had on vampires, likely even more than The Wolf Man had on werewolves. I don't read as much fiction as I probably should these days outside of older literary works and assorted other works that interest me, which frankly are only rarely similar to what I actually study and/or write* (I honestly haven't even read any werewolf books or series, either, lol... except the ones I've mentioned in my work...) and the occasional random novel I pick up and read just to get a feel of what the modern publication world is like.

If anyone out there knows of some books to recommend, please hop into the replies and/or tags!

*: my favorite genre to read is actually near-future hard sci-fi, things like Michael Crichton's works (he is one of my favorite authors), or else making sure I've read every great classic work out there

[jasminewalkerauthor]

Deep dives into folklore: Werewolves

Werewolves, often depicted as humans with the ability to transform into wolves or wolf-like creatures during the full moon, have been a recurring theme in literature and mythology for centuries. The concept of the werewolf has evolved significantly over time, reflecting the changing beliefs, fears, and societal norms of different cultures. Today we are exploring the fascinating journey of the werewolf from its ancient origins to its modern-day interpretations in literature and popular culture.

The origins of the werewolf myth can be traced back to the ancient civilizations of Greece and Rome. In Greek mythology, the legend of Lycaon tells the story of a king who was transformed into a wolf as punishment for serving human flesh to the gods. This early representation of lycanthropy, the ability to shape-shift into a wolf, laid the groundwork for future werewolf tales. In Roman literature, the story of Ovid's "Metamorphoses" also features a man named Arcas transformed into a bear by the god Jupiter, an early example of shape-shifting.

During the Middle Ages, the werewolf myth gained prominence in European folklore. In a time when superstitions and fear of the unknown were rampant, the idea of humans transforming into vicious beasts under the influence of the moon became deeply ingrained in the collective psyche. The term "werewolf" itself is of Old English origin, derived from "wer" meaning man and "wulf" meaning wolf. This era saw the emergence of numerous werewolf legends and stories, often used to explain mysterious disappearances or brutal killings. One of the most famous cases was that of Peter Stumpp, a 16th-century German farmer who claimed to have made a pact with the devil and confessed to committing gruesome murders while in wolf form. Such tales served to stoke the fear of the supernatural and the unknown.

As Europe transitioned from the Middle Ages to the Renaissance and Enlightenment periods, the werewolf myth underwent a transformation of its own. The Age of Reason prompted a shift towards skepticism and rationality, and werewolf stories became less prominent. However, they did not disappear entirely. Some writers and scholars explored the psychological aspects of lycanthropy, viewing it as a metaphor for the duality of human nature. This concept laid the groundwork for the exploration of the werewolf's inner struggle in later literature.

The 19th century saw a revival of interest in the supernatural, and werewolves made a comeback in literature. Folklorists and writers like The Brothers Grimm and E.T.A. Hoffmann delved into the darker aspects of folklore, resurrecting old werewolf legends and incorporating them into their stories. One of the most famous literary works featuring a werewolf is "The Wolfman" by Marie de Villeneuve, which introduced elements of tragic transformation and a curse, themes that would continue to be explored in later literature.

In the 20th century, the werewolf evolved into a complex and multifaceted character. With the advent of cinema and the horror genre, werewolves became popular subjects for films like "The Wolf Man" (1941) and "An American Werewolf in London" (1981). These films portrayed the werewolf as a tortured and sympathetic figure, struggling with their monstrous nature.

In contemporary literature and popular culture, the werewolf has continued to evolve. Authors like Anne Rice and Patricia Briggs have explored the psychological and emotional aspects of lycanthropy in their novels, portraying werewolves as individuals with unique abilities and challenges. The popular "Twilight" series by Stephenie Meyer introduced a new generation to the idea of werewolves as members of a close-knit pack, bound by loyalty and a shared destiny.

The werewolf, a creature born of ancient mythology, has undergone a remarkable evolution in literature and popular culture. From its origins in Greek and Roman mythology to its prominent place in medieval European folklore, and its subsequent reimagining in the modern era, the werewolf has adapted to reflect the changing fears, beliefs, and values of society. Today, the werewolf remains a symbol of the eternal struggle between the human and the beast within, a reflection of our ongoing fascination with the supernatural and the mysteries of the human psyche. Its enduring presence in literature and mythology ensures that the legend of the werewolf will continue to evolve and captivate audiences for generations to come.

[lafcadiosadventures]

Madame Putiphar Groupread. Book Two, Chapter XXXI

“We must howl with the wolves, he who bleats among them shall be their prey!”

(tr. here  by @sainteverge )

Gustave Doré's Les loups et les brebis.

Sit yourself with a nice cup/glass of something and let’s ponder urban/rural, intra/extra european tensions in the 19th c european novel together. nerdface emoji.

(I love you Borel but this chapter has tested my patience. Why do you make the blorboes move at a glaciar pace in times of crisis)

After Deborah’s announcement and Patrick’s declaration of ideal paternity and family life, the couple dines together. Patrick asks Deborah if she likes Paris specifically before letting her know that they must LEAVE the city FAST. That gives Borel the chance to explore through Deborah yet another central theme of the Romantic novel, or the 19th c novel as a whole, Rural vs Urban life tensions. Borel as always, adds his own personal twist to it. Taking into account how essentialist 19th c French-surely not exclusively- literature is, how Romantic movements are about going back to some kind of National essence, how you cannot leaf through one of these books without reading about so called spanish/italian personality traits, occasionally reaching ad absurdum levels like in Dumas when he has Dantès claim that southern europeans are more vulnerable to poison than northern europeans, Balzac and his ambitious meridionals (in his defense, he at least IS a meridional himself), his stabby-because-catholic corsicans, and don’t get me started on Gautier’s Voyage en Espagne. Positive or negative, there is in this literary word, no escaping regional stereotyping.  

What Borel does when addressing the question, does Deborah miss Ireland, she states that she doesn’t, not Ireland specifically. What she misses is the countryside, what she loathes is city life. And, she affirms, she would loathe it as much in Dublin as in Paris. Modern Urban life is to her a sickness that seems to afflict all of Europe equally. This definitely stands out from other portrayals of Paris as a modern Babylon we’ve seen from other authors... Balzac would never. Paris is hell, but to him it is also Paris. as Diderot would say, in a fit of excessive nationalistic intoxication Paris is the brain of France, and France is the Brain of the World. yes. that was something he said unironically) But Borel does not care about what makes Paris specific here... Paris is part of something bigger, and not actually something good. He once again seems to anticipate much later philosophical ideas like Marc Augé’s non-places. Read this and tell me it doesn’t make you think of our post modern present, with our increasingly minuscule flats, the impossibility of looking out and not seeing more flats in some of the biggest metropolis in the world, etc:

 “Living in cities is narrowing; these boxes, these cages where as prisoners we wither away, compress and cinch the soul like a corset: our spirit confines itself to two ceilings and four walls; our gaze, which cannot break through, hits the surface and falls back on us; we take the habit of indulging ourselves, of being satisfied with ourselves, we diminish, we shrivel away. The perpetual sight of men’s work renders us petty and bourgeois like them: we forget the grand spectacles of nature, we forget the universe, we forget humanity, we forget everything, aside from ourselves, and whatever tastes we seek to quench: all creation comes down to a few pieces of furniture, a few chairs, a few tables, a few beds, a few pieces of fabric or silk, which we grow enamoured with, which we’re attached to like the oyster to its stone, over which we vegetate and crawl like lichen”

(translation by sainteverge)

I’d like to link here an excerpt of Champavert: The Werewolf as well. This earlier text seeks to be specifically Parisian, and more encompassing  than Debby’s experience. (noted passages in a similar vein: Balzac's Galleries of the Palais-Royale descriptionin Lost Illusions (the city-as-spectacle, everything and everyone for sale) and his snapshots of social inequality in Père Goriot)

“Le monde, c’est un théâtre: des affiches à grosses lettres, à titres emphatiques, hameçonnent la foule qui se lève aussitôt, se lave, peigne ses favoris, met son jabot et son habit dominical, fait ses frisures, endosse sa robe d’indienne, et, parapluie à la main, la voilà qui part; leste, joyeuse, désireuse, elle arrive, elle paie, car la foule paie toujours, chacun se loge à sa guise, ou plutôt suivant le cens qu’il a payé, dans le vaste amphithéâtre, l’aristocratie se verrouille dans ses cabanons grillés, la canaille reste à la merci. La toile est levée, les oreilles sont ouvertes et les cous tendus, la foule écoute, car la foule écoute toujours; l’illusion pour elle est complète, c’est de la réalité; elle est identifiée, elle rit, elle pleure, elle prend en haine, en amour, hurle, siffle, applaudit; en vain, quelquefois, sent-elle qu’on l’abuse et s’arme-t-elle de sa lorgnette, elle est myope, rien ne peut détruire son illusion et sa foi qu’exploite si galamment les comédiens”

Both of these passages share a grim diagnosis. Capitalist Modernity seems to be here a degenerative illness. Deborah’s focuses more on the domestic, most of her life means staying locked in,  completely lonely, but she has observed how the city tends to isolate, to make people focus only on their selves and their whims, which can only be satisfied by buying furniture, clothes, a thirst for possessions that transforms Humans into Oysters....

This to me is the highlight of the chapter.

After this speech our friends agree they must flee, and quick. Patrick and Deborah are ready to be open to each other. They tell each other what the reader already knows, they are now both equally aware of their danger, and of the wrongs they have both endured at the hands of their aristocratic tormentors.

Noteworthy word choice: Patrick compares himself at the hands of Putiphar to a virtuous maiden (we have joked in the groupchat about Debby and Patrick being lesbians before... Butch Lesbian Patrick confirmed)

Another thing i found startlingly contemporary sounding, in our days of lawfare and soft coups, Patrick, talkig of how Putiphar can use his theft and murder accusatio to give her illegal persecution a virtuous veneer: “she’ll be able, not that she cares about it, to mask her revenge behind an honest mask (...)”(tr, by cam)

Theres an absurdly ooc Deborah moment when she weeps and declares herself a burden. His beauty could have been the key to a brilliant social assent. Patrick corrects her, slightly offended because he is not about that #arriviste #boytoy life (Debby already knows that!???!) But Debby is only saying all of this because she fears this Fredegund’s retaliation........

Since God is apparently devoid of his divine wrath, and the powerful villains go unpunished, they must leave Paris in search of a new Promissed Land (slightly Candide-ish, right?) where if men are not less evil, (Patrick moves away from Rousseau... at least for a second) at the very least they can hope for a less asymmetrical distribution of power. Patrick has his naif hopes set on one of those ignored places European society calls savage, which he assumes will be more fit to give them “their share of sun, land and fraternity” (this is also a common theme in french novels of the day... Patrick at least still hopes to find Fraternity in these unspecified so called third world lands, instead of lording over the savages like Thénarider or Goriot era Vautrin...-Splendeurs era Vautrin hopes for an American Forest to die alone in after having eaten his own tongue. Progress. Growth.)

The only way of living in the European City is howling with the wolves, and since they’re not willing to do so, because they are lambs, they must leave. And Fast. So first to Marseille, Geneva or Livorne, and then to whatever earthly “virgin” rousseau/bougainville paradise they choose to set their paths to.

So Patrick (finally!!! sorry) leaves to buy some tickets in the first available carriage, Deborah will pack their things to avoid boredom/stress. Patrick wants a kiss, she refuses bc the farewell will then feel too final (...) Patrick claims that iron cannot harm a limb that has been kissed by a woman’s lips, so she passionately kisses him over his heart... but as soon as he sets foot on the streets Deborah hears him cry out for help. He is taken away by the kings men (illegally, in the night, shielded by the darkness) Patrick warns her not to come (she has to think of their baby) and says farewell forever. She throws out a flaming curtain for visibility. she sees as she descends, how Patrick is taken away in a palace carriage. She faints. Is taken away by Palace guardsmen herself. Book Two is over. Lasciate ogni speranza?

{ @sainteverge @counterwiddershins }

[saint-starflicker]

Overview and Criteria for Gothic Fiction

Gothic as a genre of fiction novel emerged in the late 18th century and early 19th century. Modern scholars frame these works as part of a Romanticist pushback against the Enlightenment era of calculated, scientific rationalism. In English literature, these may also have been artistic expressions of the collective anxieties of British people regarding the French Revolution. The term hearkens back to the destruction of the Roman Empire in the 5th century CE at the effect of Gothic peoples, an event that marks the beginning of the medieval era. As early as the year 1530 CE, Giorgio Vasari criticized medieval architecture as gothic, that is "monstrous", "barbarous", and "disordered" contrasted against the elegant and progressive neoclassical architecture reconstructions. In the late 20th century, a subculture of post-punk horror rockers began to be described as Gothic as well. This subcultural goth variation characterized itself by an aesthetic of counter-cultural macabre and "enjoyable fear".

Notable early works of what would become the gothic literary "canon" are listed as follows: The Castle of Otranto by Horace Walpole (1764), The Castles of Athlin and Dunbayne by Ann Radcliffe (1789), The Castle of Wolfenbach by Eliza Parsons (1793), and The Mysteries of Udolpho by Ann Radcliffe (1794). Udolpho is the name of a castle. Early gothic literature was intertwined with an admiration for gothic architecture, sorry to Vasari Giorgio who hated that sort of thing so much but is an outlier and should not be counted.

One example of French gothic literature in this vein is Notre-Dame de Paris by Victor Hugo, published in 1831 although the story is set in 1482 and it was about a gothic cathedral rather than a gothic castle. Northanger Abbey by Jane Austen is an affectionate parody of the gothic literature genre and a staunch defense of the gothic novels' artistic merits. It was completed in 1803 but not published until 1818 after the author's death.

In Northanger Abbey, a character recommends to her friend a list of books in this genre, all the titles of which were publications contemporary to the time the author was writing about them: The Italian by Ann Radcliffe, Clermont by Regina Maria Roche, The Mysterious Warning by Eliza Parsons, Necromancer of the Black Forest by Lawrence Flammenberg, The Midnight Bell by Francis Lathorn, Orphan of the Rhine by Eleanor Sleath, and Horrid Mysteries by Carl Grosse.

The appeal of these stories was less the architecture itself and more the emotions evoked by being haunted by the past, threatened by unknown histories, frightened by misunderstood monsters, and in awe of wilderness and nature. All of this would be set at or relative to a location: a gothic building. Heroines in gothic stories would commonly be abducted from convents that they sought refuge in, or confined to convents or other locations against their will when they try to exercise their freedoms. Other common tropes became the journey of a gothic heroine in an unfamiliar country, and the horrors of being made to rely on guardians who make impositions against her wishes or best interests. In other cases, the gothic horror mixed with gothic infatuation would be shown by an invasion of sorts by a foreigner in the heroine's home country, person of color, or the occupation of a disabled person. These works frequently lend themselves to queer readings.

The common and notable qualities of what works came to be considered gothic literature between the 1819 publication of The Vampyre by John William Polidori and the 1896 publication of The Werewolf by Clemence Housman, naturally expanded and evolved with the inclusion of more works within this genre. Even now in the 21st century the continued recognizability of the gothic applies to new additions to the genre. The criteria for what qualifies a gothic story follows:

Ill-Reputed Work. The story is accused of being degrading to high culture, bad for society, immoral, populist or counter-cultural. At the very least, it's considered bad art and ugly.

Haunted by the Past. This can be found in a work framed accordingly in the cultural context that inspired the authors, such as early 19th century English literature of this genre as a response to the French Revolution. Works emblematic of the Southern Gothic in the United States could be framed in the context of the anxieties surrounding the Civil War. More often, however, it is personal history that haunts a gothic character.

Architecture. This is not necessarily mere mention of a building, or even a lush description of literally gothic architecture. This is more a sense of location. While it stands to reason that confined locations are buildings, the narrative function of architecture can be served by themes of isolation and confinement. Social consensus that is impossible to navigate or escape is a gothic sentiment. This is, of course, more clearly qualified if the architecture is literally a building.

Wilderness. This is not necessarily natural environments, but rather situations that are unpredictable and overwhelming. Storms can be similarly admired, those "dark and stormy night"s. The anxiety invoked by nautical horror emerges from the contrast between a human being made to feel small and out of control when situated on the open ocean and all its depths and mysteries. The gothic simplicity of fairy tales relies on the inhospitable and chaotic woods full of bandits, wolves, and maybe even witches. Logically, a city should be more architecture than wilderness, but if the narrative purpose is chaotic unpredictable vastness horror rather than confinement horror then the city can become a gothic wilderness. This is, of course, more clearly qualified if the wilderness is literally the weather.

Big Mood Energy. This is what I call a collection of emotions evoked by the design of gothic literature. The sense of vulnerability in the face of grandeur, or overwhelming emotion, is known as Sublime. The betrayal of that which is supposed to be familiar is known as the Uncanny. A disruption or disrespect of identity, order, or security is known as the Abject. Gothic literature often evokes disgust and discomfort with ambiguity, or showcases melodramatic sentimentality, or includes heavyhanded symbolism. Gothic literature explores boundaries and deconstructs the rules that keep readers comfortable.

Optionally, Supernatural. As a response to Enlightenment-era science and rationalism, the supernatural found new importance in gothic literature, symbolically and in the evocative emotions it wrought.

The growing edge of genre gothic I think can be found in genre overlap with picaresque stories, detective mysteries, works of libertine sensationalism, science fiction, fairy tales, and dark academia. Quaint tropes are subverted or transformed, and new ones can emerge in the symbolic conversation that works of fiction can strike up with one another. I hope the above criteria remains a useful guide.

Sources:

Peake, Jak. “Representing the Gothic.” 30 April 2013, University of Essex. Lecture. https://www.youtube.com/watch?v=B51o-1KTJhw

Nixon, Lauren. “Exploring the Gothic in Contemporary Culture and Criticism.” 4 August 2017, University of Sheffield. Lecture. https://www.youtube.com/watch?v=JZP4g0eZmo8

"Why Are Goths? History of the Gothic 18th Century to Now". Wright, Carrie. 17 December 2022. www.youtube.com/watch?v=TrIK6pBj4f8

"8 Aspects of Gothic Books". Teed, Tristan. 19 June 2021. https://www.youtube.com/watch?v=NULLOYGiSDI

Burke, Edmund. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. London, Vernor & Hood, etc., 1798. Originally published in 1756.

Freud, Sigmund. The Uncanny, Penguin Books, New York, 2003. Originally published in 1919.

Kristeva, Julia. Powers of Horror: An Essay on Abjection, translated by Leon Roudiez, Columbia University Press, New York, NY, 2010. Originally published in 1984.

Commentary and reading list under Read More.

Commentary

I owe to Tristan Teed the idea of framing emergent gothic literature as countercultural to Enlightenment rationalism and science, and this pushback symbolized by wilderness; Dr. Jak Peake for contextualizing gothic literature as an artistic response to civic unrest in general, and highlighting the fear of seductive immigrants in Bram Stroker's Dracula more specifically; Carrie Wright for the feminist readings of the literary references in Jane Austen's Northanger Abbey, and Dr. Lauren Nixon framing the term gothic as originally meaning bad art—the lattermost aspect I personally consider integral to the genre as it must remain a constant interrogation of what artistic expression we as a society consider "bad art" and why. Both Wright and Teed inspired the aspects list applied to an otherwise categorization-defiant genre that gothic literature is. Critical Race Theory readings and Queer Theory readings of works considered part of gothic literature canon, I would say are informed by the works themselves being very suggestive of these readings. Sheridan Le Fanu's 1872 Carmilla influenced Rachel Klein's 2002 The Moth Diaries that blurred the lines between the homosocial and the homoerotic at a girl's boarding school. Florian Tacorian (not listed in these citations, but go watch his videos) highlighted Romani presence in adaptations of Victor Hugo's Notre-Dame de Paris, as well as Emily Brontë's 1847 novel Wuthering Heights. The work of another Brontë sister, Charlotte Brontë, is more often mentioned as though closer to the core canon gothic literature, and the eponymous Jane Eyre contends with a Creole woman confined to the attic of her new home (this was written in 1847, the race issue was made explicit in Wide Sargasso Sea by Jean Rhys published in 1966 that was a retelling of Jane Eyre.)

Notes on the works of gothic literature mentioned: As of this writing, I have read Northanger Abbey, The Vampyre, Carmilla, Dracula, and only half of Notre-Dame de Paris. I have only watched a movie adaptation of The Moth Diaries. (Update as of the 8th of October 2023: I finished reading The Moth Diaries by Rachel Klein. This whole essay was posted on the 1st of October 2023.) (Update as of December 2023: I finished reading Jane Eyre.) Despite taking the internet handle Poe, American gothic literature is pretty much completely alien to me. I might have read a handful of other works that might be arguably gothic, but have not mentioned them here so I would not count them in a list of works that are mentioned in this essay and that I have personally read. The initial list was a semi-facetious argument for the presence of gothic architecture in gothic literature based on the titles alone. Note also my focus on gothic literature from the British Isles, with a mention of only two titles from Germany (Der Genius by Carl Grosse, translated into the English The Horrid Mysteries by Peter Will; and Der Geisterbanner: Eine Wundergeschichte aus mündlichen und schriftlichen Traditionen by Karl Friedrich Kahlert under the pen name Lawrence Flammenberg, translated into the English Necromancer of the Black Forest by Peter Teuthold that was first published in 1794) and only one from France (Notre-Dame de Paris 1482 by Victor Hugo). This is not to say that there was little to no Romanticist movement in Germany or France in the 18th and 19th centuries compared to Britain. Friedrich Maximilian Klinger's stageplay Sturm und Drang premiered in 1777 and lent its name to a proto-Romantic artistic era that was supremely Sublime and Big Mood Energy. The earliest French gothic novel I could find via a cursory search engine search was Jacques Cazotte's Le Diable Amoureux, 1772, and I deliberately selected Notre-Dame de Paris for mention instead to demonstrate the continued theme of architecture and variety in architecture: churches as well as castles, and to affirm the representation of disability in gothic literature because Quasimodo (a character in the book) is deaf and according to John Green had contacted spinal tuburculosis that left the character hunchbacked. I have not read any of Le Diable Amoureux, let alone the half that gave me the temerity to list Notre-Dame de Paris among these gothic works.

This sparseness is due to my own interest in the emergence of English-language gothic literature focused on Britain between the years 1789 and 1830, in keeping with Ian Mortimer's definition of the Regency era in Britain. That, and the information from the sources I have cited, are what I based the criteria that I offer for what makes a novel genre-compliant to gothic. The narrative psychology and historicist analyses of The Castle of Otranto as an outlier published earlier than the timeframe I confine myself to, is for another essay perhaps written by somebody else. Similarly, my argument for the lineage of picaresque heroes from Paul Clifford to The Scarlet Pimpernel, Don Diego "Zorro" de la Vega, and ultimately the angst-filled cinematic version of Bruce Wayne as overlapping the picaresque with the gothic is a blog post for another time. I have read some works by the Maquis Donatien Alphonse François de Sade and I utterly and unutterably abhor all of it, will the spectre of his abysmal depravity ever cease to haunt me—but I think I can make an argument for his works being gothic even as he argued for himself that they were not; I have no plans of doing so.

My main intention in writing this overview and criteria is to lay the groundwork for examining the overlap between Gothic as a genre and Dark Academia as a genre, which I aim to evaluate in future essays by using this criteria.

List of Works Mentioned Above

The Castle of Otranto by Horace Walpole (1764)

Le Diable Amoureux by Jacques Cazotte (1772)

The Castles of Athlin and Dunbayne by Ann Radcliffe (1789)

The Castle of Wolfenbach by Eliza Parsons (1793)

The Mysteries of Udolpho by Ann Radcliffe (1794)

Necromancer of the Black Forest by Lawrence Flammenberg (translated by Peter Teuthold, 1794)

The Horrid Mysteries by Carl Grosse (translated by Peter Will, 1796)

The Italian by Ann Radcliffe (1796)

The Mysterious Warning by Eliza Parsons (1796)

Clermont by Regina Maria Roche (1798)

The Midnight Bell by Francis Lathorn (1798)

Orphan of the Rhine by Eleanor Sleath (1798)

Northanger Abbey by Jane Austen (1818)

The Vampyre by John William Polidori (1819)

Paul Clifford by Edward Bulwer-Lytton (1830)

Notre-Dame de Paris 1482 by Victor Hugo (1831)

Wuthering Heights by Emily Brontë (1847)

Jane Eyre by Charlotte Brontë (1847)

Carmilla by Sheridan Le Fanu (1872)

Dracula by Bram Stroker (1897)

The Werewolf by Clemence Housman (1896)

The Scarlet Pimpernel by Emma Orczy (1905)

Wide Sargasso Sea by Jean Rhys (1966)

The Moth Diaries by Rachel Klein (2002)

[adarkrainbow]

As a bridge between my Hansel and Gretel posts, and my future "Spooky season fairytales" posts, I want to talk here about one of the monuments of modern American horror: Stephen King's IT. The novel specifically - not the two movie adaptations.

I often say that "It" has both the absolute best and the absolute worst of Stephen King's writing in the first part of his career, because King manages to show all the reasons he was adored as a horror writer, while all of his flaws as a writer are exaggerated to massive degrees (which is probably because of his heavy use of drugs at the time - many people have pointed out IT is the typical kind of story writers tend to come up with when under the influence of products such as cocaine - very long, convoluted, excessive in the details, pushing forward weird sex...). This book is the ultimate synthesis of King's writing, for the best and the worst, with genial ideas on one page and despicable things on the next. The fact that it was adapted twice as successful horror cinematic pieces show that there is there the material for a great horror story - but in its literary form it is unfortunately buried under too many things that could have been trimmed down or that should have been better thought about before being put to page.

But if I am talking about it today, it is because "It" is actually closely tied to fairytales. It isn't obvious at first, since it deals with a group of children fighting a shapeshifting monster in their little town, a monster that takes the shape of 30s-50s horror movie monsters ; then the fight with the monster becomes a more social and psychological form of horror, as it reflects the children's own dysfunctional family units and a widespread corruption and evil in their town's very working ; and finally we go even further than a reflection on abuse and discrimination to enter an insane and trippy eldritch, cosmic horror domain.

However the fairytale themes and motifs are definitively here. The titular monster "It", is a shapeshifting creature that feeds of children by turning into their worst fears (his most famous appearance, "Pennywise the Dancing Clown", being merely a kind lure and a sort of "basis" form for the creature before it takes a "killing" form) - and thus mirrors so many child-eating antagonists of fairytales. The children themselves undergo a quest that has fairytale motifs, as they need to go fight the monster in the depths of its lair using child-logic magic, and after horrible trials they finally reach a happy end... Though this is all quite thin, true. Things get a bit more obvious when you look at the various "forms" and "appearances" the monster takes to track its victims. There is a recurrence of him becoming a werewolf to devour children - evoking the Big Bad Wolf. At one point, It creates a persona by mixing together a giant statue of Paul Bunnian and the giant from "Jack the Giant Killer". Finally, the first appearances of Pennywise in the book, all taking place under a bridge (three times in a row), were explicitly made to evoke the tale of "The Three Billy Goats Gruff", replacing the troll with a man-eating clown - in fact the Three Billy Goats Gruff was the ACTUAL starting point of the project in King's mind.

And finally, during one memorable scene, It actually explicitely takes the shape of the witch from "Hansel and Gretel" to terrify its victim. This scene always stuck out with me when I read the book, and King truly manages to weave a terrifying scene using the fairytale as Pennywise's weapon.

I will post the scene in question here in case you want to read it without reading the book. However I will do it in a reblog since there's a limit to how big a text post can be. The scene was adapted in both visual adaptations of "It", however in both cases the Hansel and Gretel material was removed, meaning you can only get the fairytale connection by reading the original scene.

As for the context of the scene: the group of protagonists, who battled and defeated It in their childhood, return as adults to their hometown, each seeking leftovers of their past, only for Pennywise to threaten them in various ways. This precise scene follows Beverly Marsh, a little girl that was abused by her father - physically abused, and almost sexually, given her father seems to have had borderline incestuous intentions. Now an adult, she decides to return to her old flat, and she prepares herself to face her aged father for the first time since decades. Only for her to find a nice old lady in his place...

[proosh]

Alright so a few things

I think we should bring back the tv distinction solely so I can use it as a literary device without having to write in Spanish.

What small thing do you think would set Tolys off after a day of pretending like he is content with dealing with everyone's bullshit?

Hmm anything insane you want to know?

Any hot/spicy lietpru stuff?

I think we should bring back the tv distinction solely so I can use it as a literary device without having to write in Spanish.

It's a deeply under-explored avenue for drama in fiction and it's a shame you'd have to go back to like, early modern English or rely on Spanish/French/German/etc -- I read a translated German novel where one of the bits was about a silly TV discussion and the translator was like. lol. sorry about this.

What small thing do you think would set Tolys off after a day of pretending like he is content with dealing with everyone's bullshit?

Tolys is like a shaking traumatised shelter dog with a history of biting men so there's a lot of weird things that set him off but the one that is coming to mind is like. Gil having his feet resting on the living room table while sitting on the couch. It starts off as a pissy snarky comment and escalates into a full-throttle screaming match. Bark bark bark.

Any hot/spicy lietpru stuff?

You didn't hear this from me, but I may or may not end up writing a porn parody spicy scene/AU based off Eddie's Lietpru werewolf AU because they're making me cook my own goddamn food smh smh. the food being werewolffucking. because I am nothing if not predictable. But we'll see >;3c

[bdapublishing]

December is usually a slow month for publishing but there are some heavy hitters coming out today that have us tapping our feet and doing a little dance. Whether you like your doctors a little evil (and sexy) or a celebrity murder mystery on an island, we’ve got something for you!

Dazzling by Chikodili Emelumadu

Ozoemena is destined (or cursed) to be the first woman in her family to shift into a leopard and protect the land, while Treasure makes a dangerous deal with a ghost in order to bring her dad back. Their fates collide and all that good stuff for you mythology lovers out there.

My Darling Bride by Ilsa Madden-Mills

Emmaline is in a dangerous situation where the only option is to steal a car to get to safety. Did we mention that car is a Lamborghini? Of course, the lambo belongs to a famous football player, Graham, and he tells her that he won’t press charges if he marries her.

Missing by Savannah Brown

Thirty years ago, a singer went missing from a small island town and everyone refuses to talk about it. Mona shows up to Sandown to get the inside scoop for her podcast listeners, but she’s finding a few too many similarities between the missing persons case and her own life. 

Five Bad Deeds by Caz Frear 

This is like Pretty Little Liars if A was tormenting a lone 40-year-old woman. Ellen recalls every bad thing she’s ever done to try to figure out why this anonymous person is out to get her. She also happens to be renovating her dream house so there’s a lovely home decor backdrop to this psychological thriller.

Here in the Dark by Alexis Soloski

This is like a modern, gothic fever dream for reformed theater kids. Vivian is a theater critic who interviews for a promotion and then her interviewer goes missing. She involves herself and as she uncovers the truth, she resents that she finds herself surrounded by professional actors tasked with keeping secrets.

The End of the World is a Cul de Sac: Stories by Louise Kennedy 

One woman has painfully clear visions of her brother committing a murder. Other women are the murderers themselves. Each of the leading ladies in these stories is “good for her” personified. 

Orbital by Samantha Harvey 

Climate fiction meets science fiction meets literary characterization as six astronauts orbit Earth for sixteen days. There’s a lot to learn about the woes of humanity from outer space; all is revealed from a bird’s eye view.

Stalked by Eva Marks 

We’ve got another one for you spicy readers and the title pretty much says it all. Oh, and the stalker is a doctor after his sweet, innocent patient. It’s available on KU! Please check trigger warnings.

Perfect Little Lives by Amber And Danielle Brown

Simone’s mother was murdered ten years ago. She’s done everything she could to live a nice, quiet life since then, but now her childhood neighbor Hunter shows up and reveals that his father had an affair with her mom all those years ago. Simone, Hunter, and a meddlesome true crime podcaster try to get to the bottom of it.

Howl for the Gargoyle by  Kathryn Moon

Monster. Smash. Agency!! Need I say more? If you’re a monster lover then you already know what’s up. Hannah turns into a werewolf in her 30s and with all that extra rage in her body, she hires a gargoyle to help her let it out. Good thing he’s made of stone ;)

[hawnks]

I recently read a lot of silly fantasy/ romcom books so here are a couple I have enjoyed quite a bit:

- Wolf Gone Wild by Juliette Cross (Werewolf x Witch, not a literary masterpiece but it was fun to read! also part 1 of a larger series but with different protagonists, also contains smut)

- Masters of Death by Olivia Blake (immortal creatures gambling against each other, it’s set in modern times, writing style gives me slight Neil Gaiman vibes, romance/ flirting involved but not the main theme, lots of twists & turns & a murder mystery too)

- and also read the mead mishaps series by Kimberly Lemming (black protagonists, contains smut, the storyline itself is a bit flat, but her writing style is super funny, most of books are quite short 200-300pages, read them just for funnsies to get my mind off the horrors)

👀📝

[syn4k]

Established Ideas For Writing Projects That Will Probably Also Be Quite Large And Time Consuming That Ive Been Idly Rotating for Months While Working On Ashes

That one play that the theatre kids in the Emhec Café universe are working on (untitled)

Formatted as a script for a play; will need to do additional research on how plays are created and formatted

Because I'm me, will also include some metadata (i.e annotations, scribble marks as allowed by ao3 formatting, might have to make a whole work skin for it dear lord i hope it doesn't come to that) from the three authors (Ren, Sausage, and also Wilbur Soot because he's here too)

Play is about a werewolf knight who receives an order from the king to hunt down and kill a werewolf that has been spotted in a nearby forest, which also happens to be the werewolf.

Sausage and Ren are writing the play as a comedy/drama with a healthy bit of gay subtext interjected because why on earth would they not; Wilbur is using it as an outlet to vent about his recent divorce and mostly just adds dramatic angsty monologues that are NOT in line with the tone of the rest of the play at all but the other two let him keep helping because 1. it's funny and 2. nobody knows how or where wilbur lives and they're worried that if he doesnt come to these meetings anymore rhen he might just straight up die.

none of my ideas for this are actually written down anywhere, all of them were brainstormed on a call with a friend like five months ago

immensely ambitious project but would also be fun as hell to write

The Odyssey but make it a modern day roadtrip AU- working title atm is "Took a Wrong Turn at a 7-11 (The Modyssey)"

(original idea by @ wolfythewitch here on Tumblr)

yes, i am going to attempt to interpret a millennia old classic work that has become a part of western literary canon. no, i have not actually read the odyssey before.

everyone has the same name and im like 90% sure that nobody dies. dunno how anything will work again i havent read the odyssey

instead of the argo being a ship, it is a camper van.

i literally have no idea how this is going to work but trust me okay i will do it eventually and it will be glorious and it will be posted to ao3.

Writing Projects That I Need To Actually Complete Before Starting Anything Else Mentioned Above

Echoes in the Halls of the Deeps

YOU HAVE ABANDONED IT FOR LITERAL FUCKING MONTHS GET BACK TO THIS PROJECT IT IS TFC CENTRIC YOU KNOW WHAT YOU'RE DOING

Arsenic Tea (or Death and her Angel)

this one's been shoved way down the priority list i'll get to it someday but i started it for nanowrimo 2022 and burnt out so bad that i had to just scrap it and do something else to get a grade because i did it for a grade. it's a great concept! i was just in the trenches at the time

[eggmuffinwaffles]

🍑 🍓 ?

im so sorry anon this has literally been in ny inbox for an entire day bc i reblogged that fucking ask game and then forgot about it

🍓 What’s a fic you’ve written you feel is underrated?

i don’t think anythings underrated mostly bc i write for a fandom of like 20 people so im not exactly expecting a standing ovation so i’ll twist this more into if someone was only going to read like. a few things ive written what would i want them to be and personally im unhinged about the werewolf/vampire au, the modern au, and the fairy au i am very proud of those 3 those are my children. my babies. my INFANTS.

🍑 If you could make a connection between your favorite character and another work you care about (whether a crossover/fusion or a wonderfully “pretentious” literary reference) what would it be? How would it work?

what a fun hypothetical question. well. uh. HYPOTHETICALLY the parallels between varigo and destiel kind of make me insane all of the time and i’m thinking about all the ways a supernatural au could work constantly because im ill

also some of the little parallels between klaus from the umbrella academy and varian make me explode and die. and throw up.

also varian and ianto have. a lot in common and honestly i’ve floated at least just turning the cyberwoman betrayal into varigo because jack molds into hugo weirdly well the friends to betrayal to enemies to lovers between those two is so varigo coded and i really cannot resist the call