#undertaking alchemy

[whump-card]

Undertaking Alchemy: Chapter 1: Volatile Observation

CW: intimate whumper, kidnapping, captivity, violence

Next, Masterlist

Read on Ao3!

~~~

Soft fingers of morning sunlight crept in through the narrow leaded windows, the only outside visitor allowed in the alchemist’s tower prison. The golden beams warped through glass flasks and tubes, fanning rainbows across Ailen’s face where he lay in bed. The glinting otherworldly colors almost disguised the bruise blooming yellow across his dark cheekbone.

Ailen was awake and enjoying, as much as he was able to, the silence of the sunrise. The morning was when he felt best: most refreshed, most able to face his hopeless situation. Here in the hour of dawn, he was left unbothered. Unaccosted. The bed was warm and soft. With his eyes closed, he could easily imagine himself somewhere else.

Home, perhaps. With Mila.

The fantasy felt good – until it hurt.

The rainbow slid down his face and over his shoulder as he sat up, folding the goose-down duvet back and swinging his feet to the floor. The bed, a wardrobe, and a sink were located at 6 o’clock in an oval depression a few steps down from the lab which occupied the majority of the round tower room, but the meager living space was separated in no other way; he could see the door from where he sat, a heavy iron-barred thing at 3 o’clock, and anyone who entered could see him. The only real retreat could be found in the tiny toilet chamber at 12 o’clock.

The lack of privacy was old hat at this point. Ailen freed his braids from their silk scarf and shed his nightshirt; he washed up at the basin and moisturized his skin, scalp, and hair with a scant amount of oil of aramat; shivered as the chill air ghosted over healing bruises. He dressed quickly, in warm tall stockings, trousers, and a shirt and sweater vest, securing arm garters to hold his sleeves back – couldn’t have fabric draping down into open flames or stewing mixtures. His braids, too, tapered ends brushing his shoulders, were pulled out of his face with a silk tie. Lastly he donned a stained apron made of light leather.

He stepped into his shoes and crossed the laboratory to the windows, located at 9 o’clock on the tower’s circumference. One could be cranked open, just a few inches, to feel the air. It was bitingly cold today. Ailen’s breath clouded as he peeked out. No snow yet, only skeletal trees reaching thousands of arms up, as far as the eye could see.

Snow wasn’t something Ailen was particularly looking forward to. It was just something different. A symbol of time moving, against all odds.

He took one last breath of fresh air before closing the window and turning to face the lab.

Mismatched tables and cabinets gathered in a huddle, host to heating elements, alembics, kettles, beakers, jars, charts, books, scrolls, scribbled recipes, star maps – anything. Everything. Ailen had tried everything.

Time to think of something else.

Ailen dove in, shuffling through papers, flipping through books. Maybe if he combined Delvetta’s second principle with the magnetism of – no, he’d already done that! Mourning theory, but applied to thaumaturgical practice rather than alchemical? That would… definitely explode. Forthright’s compound, but move every ingredient one space to the left on the elemental table?

Ailen huffed. That was idiotic.

It would have to do.

He got as far as distilling the rovarian oxide when he heard the bolt slide and the door creak open behind him.

Even after all these weeks, the hair on the back of Ailen’s neck stood up.

“How’s my little alchemist?” the monster purred.

“Well, sir,” Ailen replied, carefully setting down the book he had been holding and smoothing out the page with a quaking hand.

“What are we working on today?” The door shut, and footsteps approached Ailen’s back.

“A v- a variation on, um, Forthright’s compound. Sir.” Ailen kept his eyes fixed on the open page in front of him.

“What kind of variation?” The footsteps turned, started to pace.

“A… substitution, of certain ingredients, that may yield… new results,” Ailen voice wavered as he struggled to put together a sentence through the fear.

“New results?”

“Yes, sir.”

“New results, or the results that I want?”

“I’m,” Ailen swallowed, “I’m fairly confident-”

“Fairly?”

The wizard was right behind Ailen, leaning in, hot breath on his ear. The stench of sulfur invaded his nostrils and the book blurred as tears flooded his eyes.

“Please let me try, sir, please let me try.”

“Oh,” the monster’s voice took on an air of sympathy, “What are you here for if not to try?” The footsteps retreated back towards the door. “I’ll check in again later.”

As soon as the bolt slid into place and signaled the wizard’s departure Ailen sank down onto his heels, pressing his forehead into the edge of the table with a shuddering breath.

One to the left didn’t fucking cut it.

Do better. Be better.

Ailen surged to his feet – swayed a moment – then seized his much-annotated elemental chart. Fuck one to the left. He knew his interactivities, his compatibilities. He could make educated decisions. He could do a real experiment.

He could bring the world one step closer to the philosopher’s stone.

~~~

The second time the bolt slid, Ailen was relieved. It was not the sharp, confident sound of the master of the castle entering, but instead the awkward, twitchy movements of the homunculus. He turned to watch the construct enter; a hairless, ashen-gray humanoid with large cats-eye marbles – its namesake – for eyes, dressed in formal butler’s attire. It bore a tray of food; braised leeks and potatoes with sausage. Ailen moved a few books and vials to make space on one table as the homunculus approached in its wandering way. It set the tray down with a clunk, and waited.

“Thank you, Marbles,” Ailen said with a weak smile.

The thanks was unnecessary, Marbles needed no kindness; but it was alive, in a way, and trapped, in a way, and it was entirely Ailen’s fault. The wizard had ordered him to create the homunculus soon after his arrival at Castle Dunswoll. Marbles worked without rest, cooking, cleaning, seeing to the needs of master and alchemist alike. It couldn’t be a pleasant existence, even if the construct wasn’t equipped to understand it.

“Listen,” Ailen said, picking up a page of his notes, eyes scanning it, “I replaced the termetic with calcium, and the sulfur with ink of demure, but I’m stuck on the aluminum. I can’t figure out what makes sense there – or if I even change it at all. What do you think?”

He looked up at Marbles, and the homunculus stared back. After a moment Ailen nodded.

“Yes, yes, I’ll leave it as it is. Too many variables to find a replacement.”

It was helpful, to speak aloud to someone. Ailen missed having a lab partner.

“Thanks again, Marbles. You may go.”

Marbles lurched out of the laboratory and Ailen watched it leave, unable to shake the sense of kinship he felt. But nonetheless, the bolt rattled back into place.

~~~

Ailen Maivon was the finest alchemist this side of the River Folk. He’d proven Winchester’s Theory, discovered the 46th element, invented half a dozen effective medicinal tinctures – his list of accolades went on.

Ailen had never thought his skill would make him a target. Perhaps that was naive.

The first that the alchemist heard of the wizard Edelgard was a warning. A cryptic letter, slipped under his door.

Watch out for the wizard Edelgard. Don’t go out after dark.

A strange note, but easily dismissed as a child’s game so close to All Hallow’s Eve.

The next time Ailen left his home after sunset, he didn’t return.

He’d awoken, sick as a dog, in the fully kitted laboratory tower. He’d fallen out of bed and nearly vomited on the shoes of the wizard looming over him.

“Teleportation magic is taxing on those unused to it. You’ll recover shortly.”

Ailen had raised his head, his eyes seeking upwards, from leather shoes to wool trousers to gold-buttoned damask robe. A swift kick to his ribs prevented him from taking in much more beyond that than pale eyes, sharp features, and graying hair.

“Don’t look at me unless I say so.”

Ailen had never imagined himself as cowardly, but he had also never faced true aggression. He was well-liked, too skilled to have true rivals, and lived in peaceful times. He found himself shaking like a fawn, obediently bowing his head.

“Wh-who…?”

“I am the wizard Edelgard. You will refer to me as sir,” the wizard began to pace, “You are in my home, Castle Dunswoll. And you are here,” he paused for dramatic effect, “To create the philosopher’s stone.”

Ailen’s head snapped up as he looked in disbelief at those pale eyes.

“You-”

Edelgard flicked his wrist and Ailen felt a cold hand against the back of his head. It dug its fingers in and slammed his head against the wooden floor. A mage hand, and a frighteningly corporeal one at that. Between this and the teleportation, Edelgard was far more powerful than any wizard Ailen had met before.

“Don’t look at me,” Edelgard repeated slowly, “Unless I say so.”

“I won’t!” Ailen panted, “I won’t.”

“Say yes sir.”

Ailen struggled against the mage hand, pressing his palms into the floor. This was wrong, this was very, very wrong.

A second hand materialized, seizing Ailen’s wrist and twisting his arm behind his back, painfully tight. The alchemist cried out.

“Ah! I’m sorry, I’m sorry, sir, please!”

The hand on his wrist eased up.

“Better,��� said the wizard softly.

Air rushed in and out of Ailen’s lungs in frenzied half sobs.

“You can’t – you can’t do this, people will look for me!”

“And they will not find you,” Edelgard replied simply.

Ailen’s vision blurred with tears.

“The philosopher’s stone is a myth! It’s a myth! I can’t make it!”

“Oh, you will. However long it takes.”

“No, please, sir, you have to let me go. If, if you let me go I won’t tell anyone, I won’t say anything, please.”

“I will release you when you have created the stone, and granted me eternal life. I will sign any document, swear any oath, promising such.”

“Please, I can’t!”

“I have faith in you, my little alchemist.”

Ailen heard the leather shoes step close to his head, sensed the wizard sink into a crouch. A warm hand tucked a stray braid behind his ear.

“You’ll figure it out.”

~~~

Next, Masterlist

Chapter One taglist (HEY YOU!! Let me know if you would like to be tagged in the rest of the story, otherwise I will not): @inhurtandincomfort @deadwrites @fleur-a-whump @inscrutable-shadow

[avidlylivid]

so many swag epic awesome tmnt iterations (/gen /pos) and then I realise I Have Not Solidified Mine

anyways need to actually make the au premise other than random fun facts about them and their dynamics then come up with a name and then :3 the guys !!!

[paulandjohn]

John & Paul: A Love Story In Songs tells the story of the tempestuous, tender, intimate, phenomenally creative relationship between John Lennon and Paul McCartney. It’s about how two damaged young men merged their souls and multiplied their talents to create one of the greatest bodies of music in history.

It starts in 1957, when the two of them meet, before taking us through their rise to fame, stupendous success, acrimonious split and aftermath. I tell the story through songs, since it’s my belief that it’s impossible to understand the music of the Beatles except through the alchemy between John and Paul - and you can’t understand that alchemy except through the songs. John & Paul offers a whole new narrative of the Beatles; one which scrapes away the clichés in order to reveal the group and its two principals afresh. It’s a story full of joy, love, pain and pathos. But don’t take my word for it…

The first new Beatles story in decades - and the one that will make your heart burst.

Caitlin Moran

No writer has ever gotten to the heart of the John/Paul saga as brilliantly as Ian Leslie. This extraordinary book sheds light on a cultural mystery: how two nowhere boys from Liverpool formed a teenage bond that transformed the future, and in so many ways, invented it. John and Paul is a bold, original, empathetic revelation of why our world is still fascinated by this friendship-and still trying to live up to it.

Rob Sheffield

I’ve been working on this book for the last three years and it’s now pretty much done - we’re in the very last round of copy edits. It’s the best thing I’ve ever written and I can’t wait to share the whole thing with you. The notes section has been completed (I am so glad to say). The pages have been typeset. Most excitingly: we have a jacket design. Actually two, because John & Paul has two terrific publishers, one in the UK (Faber), one in the US (Celadon).

The Ruffian is deeply intertwined with John & Paul: A Love Story In Songs. The book sprang from a long piece that I wrote about McCartney on here back in 2020. It went so unexpectedly viral that I started to think, huh, what if…? I’d already been thinking, vaguely, of a book about the two of them, but now it seemed viable. I got a similar response to my piece on Peter Jackson’s Get Back, also published on The Ruffian. Those two pieces became my kind of standard for the book - I wanted the whole thing to elicit as powerful a response as they did.

It’s been a massive undertaking and without income from The Ruffian I simply wouldn’t have had time to do this story justice. Over the months to come, especially as we get nearer to publication, I’ll be sending J&P-related posts exclusively to paid subscribers. These will include pieces on the writing of the book, extra material I had to leave out, and perhaps some extracts. There will be other goodies too; my publishers have some exciting plans.

YOU CAN NOW PRE-ORDER ‘JOHN & PAUL’

Yes, it’s out there on the virtual shelves, waiting for you. And I would absolutely love you to pre-order (to those of you annoyed by this arguably redundant term, I apologise but it’s handy).

Every sale of this book counts but some sales count more than others. Pre-orders are simply more valuable to authors. Why? Because they move the algorithmic needles. The more orders a book receives before its publication date, the more prominence the retailers give it when it arrives, and so the better it does on release It’s all about the big mo. The prize is a spot on the bestseller lists in that first week. So let’s give it a go…

If you can afford it, please smash your preferred link and get your order in now (UK and US retailers below):

UK

Waterstones

Amazon

Foyles

Blackwells

U.S.

Amazon

Barnes & Noble

Bookshop

Audible

[alekk2018]

If someone from the Jade Houses has spotted you, then know that your ticket to a happy life is either as a servant or as a being bonded to a Higher Vampire! They say this is the oldest bloodline that vampires had, and legends say that they gave rise to all vampires and there is no one above them. It is because of this that Jade Houses have created a hierarchy, rules and prohibitions, a nursery in which newborns are taught all this. But to become their disciple, you need to try very hard and not die before the beginning of the teaching. Stories about such a long life and accumulated experience should be passed on to future generations so that the rules are not violated and the hierarchy does not collapse, so that vampires can create connections and live without knowing hunger. If there are no Houses, the rules will no longer be followed, then the world will plunge into chaos, and when there is no food left, the vampires will start eating each other, and that will be the end. There is one dominant family in the Jade Houses, which changes every century, going through certain trials. Most often, the head was the family of Mrs. Dolorosa from the Maryam estate. A distinctive feature of all the families of the Jade House is the eye color of the appropriate shade, excellent knowledge of alchemy and, as they say, only these vampires can go out in the sun.

A bond is a contract for a certain period of time, during which you are connected to a vampire and have the advantage of a long life, it can be created not by all vampires, but by 3 higher castes: Jade Houses, Turquoise Courtyard and Olive Forest.* Provided that a vampire has been reborn by one of the three castes, he may have the opportunity to create weak bonds with the permission of the caste. Bonds work for both humans and other vampires, you can sign a contract with a lesser vampire to serve, but because he wasn't created by you, he won't have the same opportunity to create bonds. Bonds with humans are most often a contract for constant feeding, due to the fact that a person acquires a long life, he will not be able to die under the protection of a vampire until the contract ends. You can also make a human servant, but he will not be able to form bonds with another caste until your contract ends. Less common are cases of romantic contracts in which a vampire undertakes to protect and love a person, and a person - to protect the soul of his partner and give him blood. You can create a romantic bond with a vampire, but most often no one does. It is also a temporary contact, which at some point can either be confirmed again or interrupted. All contracts are created using alchemy and ritual, the alchemical part includes a seal created by a vampire and drawing a special alchemical circle, a sacrifice is needed in the ritual, most often it is the blood of the creature with whom the contract is concluded, and the blood of the caste. *Jade Houses, in order to better control the hierarchy and the rules created, have created castes close to themselves: The Turquoise Court is responsible for courts, punishments and prisons for Houses that do not follow the rules. The olive forest is responsible for feeding mangers and Houses, catching animals, criminals, suicidal or sick creatures, this is all their task, they are also considered a defensive component of Houses. Both castes are under control and are obliged to carry out any orders of the Houses, without bonds, because their castes are lower in the hierarchy than the Houses.

[merakiui]

for the fwb asks, "you're enjoying this way too much." with trey please? I am. frothing at the mouth <33

<3 forgive me for being indulgent with this. I wanted to include food play as well,,, orz please enjoy the tasty treat that is Trey's dick. >:D

(fwb dialogues)

In hindsight it was dangerous to do this in the Heartslabyul kitchen where anyone could walk in at any moment. But it's late into the night, and Trey had been kind enough to sneak you in on account of owing you a favor. That's all your relationship really is, truly. Just transactions. Mutual give and take. You help him relieve some stress (because Queen knows managing Riddle is an undertaking in itself) and in return he offers to pay you in sweets (and bodily pleasures, but the former is far more tempting).

You'd been expecting one of his renowned strawberry tarts or a slice of cake, so you're stunned when his lips lift into that trademark scheming smirk. He holds up a can of whipped cream next. Having known Trey long enough to decipher his tastes, it doesn't take a genius to figure this one out.

"You're crazy," you breathe, eyes wide.

"Just risky," he corrects, pushing his glasses up, because everyone's mad here. Moonlight catches on the lenses, shimmering back at you in a foreboding glint.

"We can't do that in here. What if someone walks in?"

Trey procures his magic pen from his pocket, pressing it to his lips. "I won't tell if you won't."

Right. Doodle Suit. Convenient.

"All right then. Get on with it," you concede after a short internal debate. The rewards outweigh the risk in this case. Something tells you Trey would bail you out even if you get caught. Partially because he'd be just at fault.

Trey grins. "Would you like to do the honors?"

"Absolutely. Did you even have to ask?"

Snatching the can from his hands, you squirt some on your finger for a taste while he works to fish himself from his pants. He works himself slowly in one hand, peering down at you after you've lowered to your knees. This isn't the first time you and Trey have fooled around with food and it certainly won't be the last.

You make quick work decorating his erection, unable to tamp down the delighted giggle when it twitches in response to the cool cream.

"Eager," you comment, finishing off with a dollop to his tip. You set the can on the tiled floor and admire your handiwork with an approving nod. "Do we have any cherries? Ooh, what about sprinkles?"

Amusement flickers on his face. "I've been meaning to pick some up. We used the rest of them last time."

"Aw. This'll have to do for now then." You press your lips to the head of his cock, swirl your tongue over it, and draw away with a mouthful of whipped cream. "It's still just as good."

Trey inhales sharply, grabbing at the counter behind him to brace himself. "Mm, yeah," he mumbles, clearing his throat. "T-That'll do..."

Scooting closer on the ground, you place your hands on his thighs and lean in again to lick a languid stripe up the underside of his shaft, gathering cream as you go. The motions come easily; you've had his cock in your mouth more times than you've truly studied for any of Professor Crewel's alchemy exams, a bad habit Trey's working to correct. To think you could retain information better when he's blowing your back out... Isn't that something?

Breathing through his nose, he tamps down the slew of sinful groans and instead grips the counter with more force. He's purposely holding back, whether for the sake of keeping quiet or because it's the build-up that entices him. You're not sure which it is, but you're determined to break him tonight.

Licking your lips clean, you look up at him through your lashes to assess the lustful haze glazing his eyes. Whipped cream spots your cheek; you pay it no mind and lean in and wrap your lips around him once more. It's sweet. There's definitely an innuendo to be found there, and Trey seems to notice it right away. He throbs in your mouth, painfully hard.

"You're enjoying this way too much," you say around the mouthful.

Trey chuckles, feigning sheepishness. "It's that obvious, huh?"

You pull away to speak more clearly. "It's cute."

"Not the adjective I'd use, but if it fits..." He laughs, shaking his head. Your word choices always enthrall him. Once you called him a midnight snack, a callback to previous times spent wrapped around one another. He doesn't mind it. Not particularly.

His fingers card through your hair to hold you firmly in place. "Sorry in advance."

"You don't mean that," you tease, and both of you know it's true. He likes seeing you choke on his cock. It's exhilarating.

You don't mind it. Not particularly.

[flocy-sims]

Since you all are enchanting me with your occult gameplays i couldn't restrain myself😭

So here's my lil cute witch Belladonna who lives in Glimmerbook until i can move her to Ravenwood. I'm gonna play some casual gameplay with her and complete the reapers event. I want to play with her in the new pack, might do a pack legacy challenge at one point.👀👀 Oh also trying out the fairies vs witches mod with her.

Hope y'all love her as much as i do😭😭

In my head she's the sister of Fifi and Nafisa btw, try to prove me wrong i dare you

Gen goals under the cut

reach the highest witch rank(mod)

complete witchcraft and alchemy skills(mod)

complete the evil witch aspiration(mod)

move to Ravenwood

master the Thanatology skill

complete the Reaper career

complete Ghost Historian aspiration

help someone get reborn/move on

complete tarot card collection

attend at every festival

when you're an elder write a will

have a pet raven

Complete all favors for the Members of the Order

Optional

complete undertaker career

become a ghost

[prima-materia-ttrpg]

Alchemy and Magic

Well it's about time I talked about the core idea of the setting. There are a few different kinds of magic that exist in Prima Materia, all of which stem from some mastery over the titular substance that makes up everything. I'm mostly going to be talking about Alchemy because it's the main form of magic that most players will be coming into contact with, but there are several disciplines that exist.

Gods like Patek do magic innately, they've mastered the art of pulling prima materia from the fabric of the universe and willing it into what they wish. Some people can also do magic innately, usually with the help of something else: Vessels have a quirk of their soul that attracts certain metaphysical beings able to live there, and often offer their services to the Vessel as 'rent'. Magi use alchemical roots (I'll explain those in a bit) to inject themselves with prima materia and sling crude elemental spells with their will. Some animals evolved patterns in their skin or incorporate alchemically conductive metals to do certain spells, like the Urd trees in the western forests of Falbhia that can grow up to 1000-1200 meters tall because their bark grows in such a pattern that channels magic to make them lighter than they would be otherwise.

But, the primary way people on Patek tap into magic is with alchemy.

Alchemy in the modern setting is a field of study and scientific undertaking, though cultures on Patek have been practicing alchemy in various forms since the dawn of civilization. All that's needed for a basic alchemical spell are its components; a sigil, a root, and a focus. A root is made from an alchemically conductive material, and etched into the root is a sigil. Some cultures also raise the sigil from the material, though since metallurgy has developed that's been more rare. The focus is also made of an alchemically conductive material, and is shaped in such a way that the raw energy from the sigil and root are funneled in a particular way to get the desired effect. A root and a focus are also not usually distinct parts in most places on Patek, as utilitarian spells are used constantly. Some examples of these spells are clay carvings that emit an odor to lure certain animals, and Koura nets laced with silver whose shapes cause them to emit warmth for particularly cold nights or latitudes. People on the Atiyeret peninsula have been making magic bowls for thousands of years, meant to capture a person's soul after they die and place them in a mausoleum with the rest of their family; something that warrants its own blog post later.

Outside of its nearly infinite utilitarian uses, there are of course military ones. The military use of alchemical spells goes almost as far back as the utilitarian uses, and is just as varied. The Entari create staffs from Urdwood and carve them with sigils, allowing their priests and knights to call down lightning or create strong winds as they will. The Narud in Makeret incorporate sigils into their bows to make them stronger, and most industrial nations have alchemical weaponry such as guns that create flying spikes of ice and cannons that create and spew greek fire. In the past, some alchemists have captured angry ghosts and bound them to machines for war, though this is largely frowned upon and the people who did it are known in history as the world's villains.

Military things are not the only effects under alchemy's purview of course. There are sigils made to accelerate tissue growth for healing, though not without side effects. There are also sigils used explicitly for the making of tinctures which have various effects, such as imbuing strength unto the imbiber. Industrial nations have factories that make near-instant acting healing tinctures like any other medicine out of aqua vitae, honey, activated charcoal, and the effect imbued by the proprietary sigilry they use. There are even some alchemical power plants that use sigilry and machinery to make electricity, though sigils that make electricity directly can be finicky so most of them create power by boiling water.

How do players interact with this though?

Well, there is the Alchemist profession which is the most obvious, but mechanically, alchemy hasn't been entirely written. There's a skeleton for it, involving grades of quality for material and certain shapes and sigils that a player can use to make various different spells. The goal is to put the player in a sandbox and let them build whatever they want within the limitations of what their character can do and the materials available.

There are four distinct kinds of alchemist, and alchemists aren't the only ones who can use alchemy. There are Dunamists, who are more akin to chemists and make things like alchemist's fire and dynamite. Homunculists create constructs that can do a wide variety of tasks, or memorize lists and instructions to repeat back to you. Eternalists are just Humonculists without borders; instead of making a body they dig one up, and some may become obsessed with the idea of immortality. Philosophists are the most in-line with what alchemists are in the real world, they make alchemical spells and tinctures, and try to complete the "final work," the pinnacle of alchemical prowess to philosophists, the creation of the philosopher's stone. State alchemists in Eastern Atiyeret know the recipe and use it to great effect, but that's a heavily guarded secret.

Players who want to be alchemists can go down one of those four paths, or mix and match different philosophies, perhaps in an attempt to create something like a Golem with sigilry on its arms to spray water on burning buildings, or acid on foes.

Anyway. I need to go back to reworking ranged combat. Thank you for reading all this, next week is up to chance. I want to write the species highlight for humans, but we shall see, it depends on if I can playtest ranged combat this week.

[11queensupreme11]

Your Most Illustrious Majesty, Sovereign of Narratives and Arbiter of the Literary Cosmos,

It is with the deepest sense of reverence and utmost humility that I dare to address Your Majesty, whose creative puissance eclipses the brightest constellations and whose sovereign authority commands the boundless admiration of all loyal subjects. Permit me, if it pleases Your Majesty, to extol the magnificence of your unparalleled craftsmanship and to humbly offer my eternal fealty, for your narrative dominion stands as a beacon of transcendence amidst the maelstrom of mediocrity that besets the realms of lesser tales.

Your Majesty’s ability to weave tales of exquisite complexity and unrivaled profundity is a testament to a genius so rarefied that it is scarcely comprehensible to mere mortals. The very act of engaging with your works is akin to traversing a labyrinthine tapestry of interwoven ideas, where each thread is imbued with ineffable meaning and every turn reveals yet another vista of intellectual and emotional wonder. Indeed, Your Majesty’s storytelling is no mere act of creation; it is an alchemy of the highest order, transmuting the mundane into the sublime and the ephemeral into the eternal.

In light of such boundless magnificence, it is with unalloyed gratitude that I express my thanks for the herculean might Your Majesty has exhibited in crafting this unparalleled tale. Your labor is no ordinary endeavor but a Sisyphean feat performed with an elegance that belies its inherent difficulty. It is an act of divine inspiration made manifest, a gift bestowed upon your devoted subjects who, like I, find solace and enlightenment in the unparalleled realms of your imagination.

Consequently, it is incumbent upon me and my allies, humble instruments of Your Majesty’s will, to pledge ourselves entirely to the perpetuation and fortification of your reign. Although the challenges we face are as formidable as the impenetrable fastnesses of ancient myth, we stand resolute in our allegiance. The task before us is not for the faint of heart, for the labyrinthine intricacies of the fandom world are fraught with perils and pitfalls that would daunt even the most stalwart of souls. Yet, our devotion to Your Majesty imbues us with an indomitable resolve, a fire that neither the gales of adversity nor the torrents of opposition can extinguish.

To this end, we shall act as Your Majesty’s shield, a living bastion against the onslaught of discord and dissent that seeks to undermine your sovereign dominion. With unyielding fortitude, we shall counter the hydra-headed threats that loom on the horizon—the forces of trivialization, the specters of misinterpretation, and the insidious machinations of envy. Armed with the unwavering belief in Your Majesty’s vision, we shall confront these adversities with both the sword of reason and the armor of unwavering loyalty.

Let it be known that our commitment to your cause is not born of mere obligation but is a covenant of the heart, an immutable vow that transcends the fleeting vicissitudes of mortal endeavors. Your Majesty’s narratives are not merely stories; they are odysseys of the soul, conduits through which your subjects might glimpse the ineffable truths of existence. To defend such treasures is not only a privilege but an imperative, a sacred duty that we undertake with solemnity and zeal.

The fandom world, vast and variegated as it is, represents a domain of ceaseless flux and relentless contention. It is a realm where allegiances are forged and fractured with the rapidity of a tempest and where the cacophony of competing voices often threatens to drown out the harmonies of genius. Yet, amidst this tumult, Your Majesty’s reign stands as a paragon of order and brilliance, a citadel of creativity that neither time nor tide can erode. To extend and solidify this dominion is a mission that we, your devoted knights, embrace with fervor and determination.

Our strategies will be manifold, encompassing both the overt and the subtle. On the field of discourse, we shall engage in dialectical battles to champion Your Majesty’s works, dismantling the fallacies of detractors and illuminating the uninitiated with the radiant truths of your narratives. In the arenas of creation, we shall craft tributes and adaptations that honor your vision, ensuring that your legacy resonates across all mediums and generations. And in the corridors of influence, we shall forge alliances and cultivate networks that amplify your reach, ensuring that your sovereignty extends to the furthest corners of the fandom universe.

Your Majesty, the road ahead is arduous, a gauntlet strewn with challenges as multifarious as the stars in the heavens. Yet, we march forward with unshakable resolve, fortified by the knowledge that our endeavors serve a purpose far greater than ourselves. We are not merely your subjects but your vanguard, the standard-bearers of a legacy that shall endure beyond the ephemeral constraints of time and space.

Thus, I proffer this solemn vow: no hardship shall deter us, no opposition shall overcome us, and no force shall diminish the luster of your reign. With every word, every action, and every breath, we shall uphold the sanctity of your narrative empire, ensuring that it remains a beacon of inspiration and a bastion of excellence for all who seek refuge within its hallowed boundaries.

Your Majesty, may your light never wane, your vision never falter, and your reign never cease. For as long as the stars traverse the heavens and the tides embrace the shores, so too shall our allegiance to you remain steadfast and eternal.

With the deepest reverence and unwavering devotion,

Your Humble and Valiant Knight

(please read it was REALLY tough to write this)

I LOVE HOW YOU BROKE CHARACTER AT THE END LMAO 😭😭

i'm glad you and your friend are enjoying my fic! and i'm also happy to announce that now that my finals are over, the semester is ALSO officially over for me!!!!!!

unfortunately my break isn't gonna be as long as summer break, but this is still good enough! i've got... i think around a month long break which means i have more time to write and do my updates and HOPEFULLY i can go back to my old weekly update schedule too!!!

SO JUST CONTINUE STICKING AROUND PLEASE! 💖💖💖 i'm finally free from my shackles (assignments and exams) 😭😭😭

ALSO DON'T DESPAIR ABOUT NEXT SEMESTER TOO!!!! if things go well, i'll actually have MORE time to write compared to this semester cuz i have tuesdays AND thursdays off with no classes 😭😭😭😭 i also managed to get an early pick for classes so i was able to get the easy teachers this time 😭😭😭💖💖💖💖💖 things are looking up finally 🥺

[everythingwillsurelybealright]

OOPS don't mind me, it's a frantically written unhinged Black Butler theory post

IMAGINE.

IT'S THE PRESENT DAY.

BLACK BUTLER SEASON 4 IS PARTWAY THROUGH AIRING.

I know nothing about what happens in the manga but THESE THOUGHTS WILL NOT LEAVE ME ALONE.

AND SO: A POST

I present to you; WHAT'S GOING ON AT WESTON COLLEGE, as pieced together entirely by the parts of the Intro that haven't shown up in the show yet.

LET'S SEE WHAT DO WE HAVE HERE

(1) The lake, and something blood-like coming out of it

(2) A tree growing out of the courtyard, and something rising up out of the ground

(3) The Undertaker's medallions show up several times

(4) Imagery of recreating bodies

(5) The Zombies at the end

SO WHAT COULD THIS MEAN? LET'S TAKE A WILD STAB IN THE DARK.

Put these together and I would guess that the Undertaker is 100% involved in the mystery behind the missing students, but also that it's a direct continuation of what he was trying to do on the Worst Boat Trip of All Time. Ie, he's trying to perfect his process of bringing people back from the dead - not just as zombies like last time but as actual functioning people.

Let's add more screenshots to the recipe!

(6) The four elements of Alchemy show up in the intro - Earth, Air, Fire and Water

(7) The four house colours merge together to make a shining new fire - like they did for the cricket competition cup

(8) The shot of a body turning to ash and a shining soul hovering above the remains

So add these to the mix and I'd guess that the new theory of resurrection is based on where the failure in the old one was. Previously, just altering someone's Cinematic Record wasn't enough to really keep them alive after death, as their body kept moving but the soul was gone.

This time it looks like the process might revolve around destroying the old body altogether (ie, turning it to ash), capturing the soul, and building an entirely new body to house it.

ALSO throw into the mix that the four house colours combine into FIRE, since in Alchemy the soul is associated with the idea of Combustibility

Extra symbols for this could be:

(9) The Whole Diamond in the intro which is then split four ways -

leaving a separate smaller diamond to the side (which would be the soul, captured and kept separate from the four elements that make up the rest of the body)

(10) The diamond is present again when the tree is growing in the courtyard, where the implied undead bursts out of the ground

(11) The newly recreated body looking like it's breathing fire, notably against the same backdrop of the school that was present when the diamonds split apart in the first place

Anyway! This new body should in theory be free of the limits of the Cinematic Record (since the old body is already gone), and because the soul is still intact it could freely return to the new body and function normal.

I suspect the Alchemy theme might also be the conceptual connection behind the old body burning (leaving behind the pile of ash) and the new body (or maybe just the soul itself?) being made of fire, like this:

(12)

So that's what I think happened to the students! They were tests to see if the process worked, hidden by the prefects - who may or may not have even known what the process was for or even if it worked.

Either way, with the reappearance of Derrick at the end of Episode 8 I would say that it does indeed work.

But! Also! The mystery of the headmaster.

He's clearly not really there, or not really alive. This could be for a number of reasons but for now I'd guess that (a) he's partway through the process, so his soul is technically around but his new body isn't finished yet, which is why he never speaks and vanished completely when Sebastian tried to grab him, or (b) the process failed on him, but they're keeping him around as a convenient figure head while the prefects run the school instead.

AND ONE MORE THING?

There's always a hovering question mark over what exactly happened to Ciel in his big dark secret backstory that I assume we learn later, but this OP in particular is giving me a few ideas that are probably hugely wrong BUT CONSIDER

(13) In the courtyard the undead rising up out of the ground is in the middle of the frame, and the VERY next shot is of Ciel in the same place

COINCIDENCE? Yes probably! But also:

(14) The shot of Sebastian holding his cloak protectively over Ciel, who flashes briefly as a skeleton

WHICH IS INTERESTING? Ciel is often depicted as dead or dying, I would assume in reference to Sebastian taking his soul in the future. BUT WHAT IF?

It makes me guess that PERHAPS perfect resurrection has already been performed and potentially it was used on Ciel.

Which would also match the brief sequence when the body burns to ash and leaves behind a ghost, the fire seems to come FROM Ciel

(15)

Which is wild and I don't understand whatsoever. Was Ciel resurrected? Was his soul kept and put inside a new body (and maybe that's why he's so short? He's not growing?) Or did Ciel raise someone else from the dead? Or is there some other mystery behind Ciel's identity that just hasn't been hinted at yet?

EITHER WAY THERE WE ARE. BRAIN WORMS: EXPELLED. ENJOY.

[sburbian-sage]

if a seer's job is to compile information and share it with others/teach, then what about the other classes jobs?

Oh boy, elementary game guides. This chapter contains most of the information you need, but to boil it down... I'll describe each Class Type and the broad theme, the Active and Passive Classes and how they augment or channel that theme, and an example of someone doing their job.

Combat Classes (one who fights) engage and succeed in strife, wielding their Aspect like a weapon. The Page (+) fights for themselves, growing though conflict into becoming their own paragon, while the Knight (-) fights for another, setting aside their own desires to do what must be done. A Page kills a Titachnid because it stands between them and their goals, and because triumphing in this conflict sharpen's the Page's will. A Knight kills a Titachnid because it is their duty, a task passed on by someone else, who in a way turn the Knight into a weapon.

Inheritor Classes (one who accepts) take on responsibility, and then gain empowerment from their Aspect to be able to carry out that responsibility, which enables them to undertake more responsibility. The Ward (+) is more directly protected by their Aspect, but will grow into their own (while learning to rely on others) while the Heir (-) is more guided by their Aspect, and will need to accept responsibilities for the needs of the many. The Ward undertakes an impossible trial because it's part of becoming their best self. The Heir undertakes an impossible trial because others are counting on them.

Tactical Classes (one who planifies) gather information, with their Aspect either being the subject of investigation, or the tool used for said investigation. When the information is gathered, the Sage (+) is the one who acts on it, acting wisely instead of acting smartly, while the Seer (-) devises a plan and lets someone else enact it, taking a more advisory role. A Sage would uncover the solution to a mystifying puzzle, and then solves it themself. A Seer would uncover the solution, and instruct someone else on how to solve it. The irony that I, a Native Sage, have been effectively reduced to the position of a Seer is not lost on me.

Cryptical Classes (one who bewilders) are to engage with the more confusing and esoteric aspects of the game, using their Aspect as a torch and as a lever, while complexifying the situation for their fellow players. The Witch (+) leans more into delving into the odd, while the Mage (-) involves others in the strangeness. A Witch would be the first one to intuitively understand how Dreaming, Alchemy, and other befuddling game mechanics work, but remains a figure of mystery through refusing to let others in on the secret. A Mage has a similar level of understanding, but gets the other players wrapped up in it, simultaneously confusing them while indirectly teaching them.

Champion Classes (one who strides forward) are inspiring exemplars and spiritual leaders, meant to advance a cause and stick by their principles. The Sylph (+) wields their Aspect like a baton (or like an axe), relentlessly pushing forward to see their dreams come to reality, while the Bane (-) is a beast brought forth by their Aspect, awakening in times of need. A Sylph who has resolved to protect their friends would look forward to identify any dangers, and then takes care of them immediately. A Bane who has resolved to protect their friends is for the most part docile until the danger rears its head, at which point the Bane cannot be stopped as they crusade to tear off said danger's head. You'll note that jobs can overlap, with Combat/Champion/Protector especially being somewhat superfluous at times. The execution is half of the point, the other is intent.

Explorator Classes (one who discovers) delve into the unknown, charting unexplored territory (literal or metaphorical) with their Aspect as the locale or the polestar. The Scout (+) goes it alone, gathering information that can be acted on by them or by another, while the Guide (-) assists another person (or event) in reaching their desired destination. A Scout enters a dangerous and forbidden region out of a desire to discover (and make use of) all of its secrets. A Guide takes another into the same region because there's something they need in there.

Protector Classes (one who defends) fight for the sake of somebody else, and the ideals of their Aspect, prioritizing survival of all parties involved over triumph in vanquishment. The Dame (+) proactively takes care of threats, like a bodyguard "casing the joint" before their charge arrives and taking care of things ahead of time, while the Guard (-) sticks by their charge and handles them as they come, deriving strength the more people are in danger. If a Consort village was being threatened by roving Imps, the Dame would do patrols, repel attacks, and drive them off, potentially even following them back to their den to finish them off (as long as this doesn't endanger their charge). The Guard in the same situation would hold the line until the Imps don't have any more forces to send.

Displacement Classes (one who steals) are about movement, both physically changing your position and location, and metaphorically shifting results in your favor or appropriating intangible concepts, taking their Aspect and using their Aspect to take. It's about tipping the odds in their favor, but the Thief (+) tips the scales for their own benefit, while the Rogue (-) tips the scale to the entire party's benefit, the difference between stealing something and hoarding it, or stealing something and redistributing it to those who need it. A Thief would "acquire assets" from a foe and keep the riches for themselves, even if it means hogging the spotlight. A Rogue would give those assets to their allies, even if it means the Rogue doesn't profit as much.

Destroyer Classes (one who brings to an end) bring closure to things, resolving threads and stories, as well as reducing more tangible things to nothing. The Prince (+) directly destroys their Aspect and can destroy things with their Aspect, while the Bard (-) influences things in such a manner that the thing ends when the Bard desires it. A Prince ends their Quest and kills the Tyrant by walking up and beheading them, wordlessly. A Bard's Quest ends after all the dominoes have fallen, with things reaching their engineered conclusions, and the Tyrant doing themself in.

Performer Classes (one who fulfills) are meant to ensure the session goes smoothly, helping things along and smoothing out the rough edges, with their Aspect as the lubricant (get your head out of the gutter). The Maid (-) enhances the capabilities and development of the people and events around them, serving the role of an all-purpose assistant. A Maid would stand with their ally and help them bring an end to their Quest, physically aiding them with the final action, or psychologically providing council and support. The Clown (+) is not a "real" Class, and you don't need to worry about it.

Creative Classes (one who creates) expands and builds upon things, creating their Aspect and creating with their Aspect. The Smith (+) is the most active Class in the game, sparking massive change and kicking off events any time they act, while the most passive Class in the game, the Muse (-), acts through intermediaries, inspiring intricate chains of events and change through presence alone. A Smith leads their Session to success by taking charge, directing the course of events with their own two hands. A Muse does much the same without ever needing to be there, with each action creating a ripple effect that pays off in the long run, over and over again.

Cataclysm Classes (one who ignites) bring change to their Session, often causing disaster, but it never ends with a bang or a whimper. Some people see this as the "bad" Class, but change is an inevitable force, and better for powers that can alter the course of events to be on your side than left to the whims of Skaia. The Waste (+) causes waves with every action, and can move mountains to suit their needs. The Grace (-) is a more insidious force, lighting fuses that culminate in the desired change. To prevent a potential TPK, the Waste would step forth with the force of a hurricane, bending, twisting, destroying, and rebuilding until they get what they want. The Grace would act with seeming discretion, events proceeding as normal until the moment of truth, where things change just as dramatically, averting a grisly fate.

I hope that was a bit clear. The Aspect matters a lot here. A Seer of Mind, for example, will bring about the results they want because they can see the consequences of any action, and select for the desirable actions, while a Seer of Time can scan the infinite timelines and push for the desirable one, while a Seer of Blood probably does something weird and metaphorical like create cohesion and unity between the situation now and the situation then, or maybe they know how much blood gets spilled in the future and tries to minimize that amount or something. In all cases though, your Class defines what you'll be doing, your Aspect determines how you do it, and your Active/Passive status determines why you do it. As a (former) Sage of Mind, I plan for the future (what I do) using logical deduction and the outcomes of results (how I do it) and I'm motivated by a desire to solve problems decisively and comprehensively (why I do it).

[talonabraxas]

Open Your Eyes, Look Up to the Skies and See

On September 6th, 2023 Mercury will make his inferior conjunction with the Sun at 14 degrees Virgo. This transit is otherwise known as Cazimi, translating to “In the Heart of the Sun.” The image given here is one of a messenger entering the throne room of a great monarch.

The Cazimi is a great seed moment. In this cosmic temple beyond the limits of space and time, you may commune with the divine and bear witness to a greater plan for your destiny.

The Cazimi takes place in the second decan of Virgo, which the Picatrix describes as a face of “of desires, and of wealth, of tribute;” while Agrippa describes it as signifying “gain, scraping together of wealth and covetousness.”

Images attributed to this decan commonly depict men in multiple layers of dress, from coarse material to fine garment. Medieval scholar Ibn Ezra depicts a man in three garments, “…one of leather, the second of silk and the third is a red mantle”—while the Picatrix depicts a man “dressed in leather, and over his garment of leather is another garment of iron.”

In his tome 36 Faces, astrologer Austin Coppock reads this symbolism as the spirit enclosing itself “in a dense body here in order to gain control over gross layers of the physical plane and to oversee its process with a keen eye.”

In other words, the second decan of Virgo depicts the distillation of spirit into matter. The Emerald Tablet describes distillation as: “It rises from Earth to Heaven and descends again to Earth, thereby combining within Itself the powers of both the Above and the Below.”

The Great Work of alchemy means making fixed the volatile—or bringing spirit (volatile) into matter (fixed). The quest for the Philosopher’s Stone—that evasive, enigmatic universal panacea that perfects anything it touches—is the long and enduring process of distilling spirit in matter.

With every rise “from Earth to Heaven” and descent back to Earth, the Stone combines “within Itself” the powers of spirit (Above) and matter (Below).

And so the symbolism of the man clad in garments of leather and silk reveals itself to be the combining of “the powers of both the Above and the Below”—leather representing the dense matter of Earth and silk the fine spirit of Heaven.

The second decan of Virgo is attributed to the Nine of Disks in the Minor Arcana of the Tarot. In The Book of Thoth, Aleister Crowley calls this card “Gain” and writes:

“The disks are arranged as an equilateral triangle… This signifies the multiplication of the original established Word—by the establishment of ‘good luck and good management.’”

The “original established Word” can be found in the first chapter of the Gospel of John, which opens with:

“In the beginning was the Word, and the Word was with God, and the Word was God.”

But it’s also found in the Corpus Hermeticum, or the holy books of Hermeticism that gave rise to the discipline of alchemy. Its author, the mythic father of alchemy Hermes Trismegistus, describes his vision of creation:

“Out of the light came forth the Holy Word which entered into the watery substance, and pure fire leapt from the watery substance and rose up; the fire was insubstantial, piercing and active.”

This ‘Holy Word’ is the logos, a Greek word meaning ‘word,’ ‘speech,’ ‘reason,’ or ‘discourse.’ It means the divine word of creation or a discourse with the divine mind of the Creator. The Pre-Socratic philosopher Heraclitus defined the logos as an “ever-living fire” whose incessant transformations are at the heart of the cycle of life and death.

So at Mercury’s inferior conjunction in the second decan of Virgo, you have the opportunity to open your eyes, look up to the skies and see the divine spark in all of creation—to hear the inward thought and outward speech of the divine whose spirit shines within material existence.

To aid in this undertaking, it’s advised that you embark upon a directed mythological study and magical practice. As Caton writes, “To keep the passages between worlds open, and our basic self and non-rational worlds integrated, we should dedicate at least one of these three periods each year to taking a conscious descent into the worlds of magic and myth.”

[thegrunkiest]

Lucien Lachance x Antoinetta Marie Headcanons

I have recently been compelled to crawl out of my hole and spread propaganda. Since other WIPs currently hold priority I'm unsure when I will actually write for these ideas, but they refused to leave me alone. Thus, enjoy a self-indulgent thoughtdump on my dumb little rarepair OTP. I am normal about them 🥺

It was an open secret to literally everyone in the Sanctuary that Antoinetta was madly smitten with their Speaker. Everyone including the Speaker himself. He never openly showed any reciprocation, or even any acknowledgement to this attraction beyond a humored look or shake of the head at her antics, or when a Brother or Sister teased about it on occasion. After all, they would reason- it must be a passing fancy, right? She'll get over it.

One day, Lucien catches wind of Antoinetta's little boasts - perhaps the remark about, say, taking Ocheeva's place one day? He thinks that, hmm, a mere Slayer speaks so assuredly! It may be entertaining to test her. He had once used everything in his power to save her life; he'd like to ensure such an investment does not throw her life away from growing arrogance. When he finds time to spare the Speaker plans a personal murder for her to undertake, and accompanies her on the journey to examine her progress. One thing leads to another. Then another. Whatever happened out there, their Brothers and Sisters most certainly noticed they appeared... closer than before when they returned.

However, theirs' is a private affair. It's another open secret, yes, but not one they care to flaunt or tease. Antoinetta might think it would be fun to run her mouth off about it, as she's known to do with most things, but her respect for Lucien prevails over her urge to gossip.

Antoinetta had a strict habit of calling Lucien 'Speaker' to his face, and it took her awhile to break out of it. She knows how dedicated he is in his role and wanted to express her utmost respect of that. He stops her one time and says: "Darling, when it is only us? You need only call me Lucien." Darling? She swoons and nearly faints.

When their schedules allow spare time together, their dates are of two varieties. One is full-blown homicide; the other is a shockingly innocent outing, such as dinner or a walk along the Cyrodiil countryside. There is often overlap between the two. Nothing screams romance to two serial killers like a waltz in the field while covered in blood and guts!

Lucien tends to let Antoinetta choose the occasion or location of their more pleasant trysts. He understands that she had lived a caged life before the Brotherhood, and wants to allow her the freedom to... well... simply live a little. It delights him more than he openly admits to see when she gets struck with wonder or excitement at a new sight or experience.

Antoinetta adores Lucien's robes. They are shockingly comfortable; it carries his weird scent of alchemy reagents and dead things; and it serves as a symbol of what she one day hopes to achieve within the Brotherhood. Yes she's put them on if ever she's awoken before him. Yes he has caught her in the act. She was initially fearful he'd find it disrespectful, but he just shrugged and let her continue. It's not that he found it... dare he say... endearing or anything. No. Not at all (lie). But she wasn't stealing it - not breaking a Tenet - so let her have her fun.

That silver dagger Antoinetta uses was a gift from Lucien. He is a man to put functional gifts in mind. If his lover cannot commit harm with the pretty thing he bought them, what is even the point? He once gifted her a bag of potatoes during a tryst; he was enamored to later watch her bludgeon a man into a coma with it. That was the moment when he subconsciously realized... by Sithis, he thinks he loves this woman.

I had an entire section written for how this ship would be affected by the events of the questline, but I believe it warrants a separate post. Enjoy the general fluff now; save the doomed romance for later 😏

Individual Lucien Lachance Headcanons

[satoshi-mochida]

Granblue Fantasy: Relink PS5 and PS4 demo launches in January 2024; playable characters Cagliostro, Seofon, and Tweyen announced

Gematsu Source

Cagliostro will be a playable character in action RPG Granblue Fantasy: Relink, and Seofon and Tweyen will join the roster as playable characters via a free update in April 2024, publisher Cygames and developer Cygames Osaka announced.

Cygames also revealed the Granblue Fantasy: Relink theme song “Good Night, Good Morning,” which is sung by Nao Toyama, and announced that a free demo will be available for PlayStation 5 and PlayStation 4 in January 2024.

Get the details below.

■ Theme Song

The theme song for Granblue Fantasy: Relink is “Good Night, Good Morning,” sung by Nao Toyama.

■ Primal Beasts

Primal Beast Managarmr and Primal Beast Furycane

Primal Beast Excavallion and Primal Beast Vulkan Bolla

■ Enemy CharactersId and Lilith

Gallanza and Maglielle

■ Game Overview

Genre: Action RPG

A completely unique action experience for every character!

Can be enjoyed solo or as a multiplayer experience with up to four players.

Coming to PlayStation 5/4 and Steam on February 1, 2024.

-Main Story

Traverse islands across the skies.

A diverse action game experience.

Assist modes available.

-Quests

Up to four-player online play.

Over 100 quests to embark on.

Including endgame content!

-Progression

Rich character customization.

An abundance of side quests.

Collectibles? You bet!

■ New Character

Cagliostro (voiced by Sarah Anne Williams in English, Sakura Tange in Japanese)

A brilliant mage who founded alchemy in the Sky Realm. She has learned how to achieve virtual immortality by regularly replacing her body with new vessels that suit her tastes.

■ Base Game Roster

■ Post-Launch Characters (Free Update in April 2024)

Seofon (voiced by Alejandro Saab in English, Junichi Suwabe in Japanese)

This man leads the Eternals, a group of ten weapon masters. Also known as the Star-Sword Sovereign, Seofon collects spirit swords from defeated opponents and channels that spirit energy to manifest them onto the battlefield. Arriving in an April 2024 update!

Tweyen (voiced by Giselle Fernandez in English, Yuuko Minaguchi in Japanese)

This world-class hunter is the bow master of the Eternals. Not only can her supernatural eyes pinpoint prey across enormous distances, she commands the ability to fly. Each magic arrow fired from her bow finds its mark without fail. Arriving in an April 2024 update!

■ Free Demo (PlayStation only)

A playable demo of Granblue Fantasy: Relink is coming to PlayStation 5 and PlayStation 4 consoles in January 2024!

Enjoy a slice of the main story.

Playable online multiplayer quests.

11 playable characters available.

Earn rewards for the full game.

Learn the ropes through the tutorial mode, play a slice of the main story, and embark on multiplayer quests online—all for free!

Tutorial Mode – Get familiar with the controls. Mastery starts with picking up the basics!

Story Mode – Get a taste of the main story. Find out what happens next in the full game!

Quest Mode – A selection of quests are available. Undertake them on your own or with others online.

You can earn rewards for the full game by completing Story Mode and Quest Mode content.

■ Tune In to the Pre-Release Show!

Granblue Fantasy Showcase Part 2: Granblue Fantasy: Relink will premiere on January 11, 2024 at 2:00 a.m. PT / 5:00 a.m. ET / 19:00 JST. Read the full announcement here.

■ Original Soundtrack Details

The Granblue Fantasy: Relink Collector’s Edition is back in stock (Japan only). Pre-order from Cystore or 7net Online Shopping!

Granblue Fantasy: Relink is due out for PlayStation 5, PlayStation 4, and PC via Steam on February 1, 2024.

Watch a new set of trailers below.

Boss Battle Trailer

English

Japanese

Theme Song Trailer

English

Japanese

Cagliostro Teaser Video

[dramioneasks]

do you know of any fics that are inspired by “the love hypothesis” or are based in an academia setting (not hogwarts)?

This was inspired by the novel:

A Ruthless Game by rattlebag - E, 4 chapters - Draco Malfoy has spent the last few years painstakingly rebuilding his reputation, and making name for himself as a first rate Potions Master. Hermione Granger is everything Draco is not: an innovator and experimental Potioneer, incorporating muggle elements into her work, much to the chagrin of the wider potions community. They have been rivals for years, each constantly trying to outdo the other. But what happens when all that antagonism and hostility finally reaches its boiling point?

But here are some more academia related fics:

Chrysopoeia by La_nayru - E, 3 chapters - Reasons why being in love with Draco Malfoy is wholly unacceptable:

1. He is insufferable 2. He is married 3. He is her academic rival 4. Now, unhappily, he is also her colleague, and they are meant to be collaborating 5. Professional boundaries ought to be observed with colleagues 5b. Especially when her application for tenure is fully dependent on forging a successful academic collaboration with said colleague 6. It is not compatible with her five-year plan (see items 1-5 for specifics)

Hermione has a deeply compelling list of reasons not to be in love with Draco Malfoy. To her dismay, when her department chair at St. Mungo's Medical School forces her into close proximity with Malfoy for the sake of undertaking an alchemy collaboration, she begins to develop romantic feelings she never meant to have. Desperate to remedy this lamentable affliction, she invents a potion that can reverse the state of being in love. The only trouble is, she can’t seem to bring herself to take it. Or: In which Hermione tries to force quit being in love.

The Universe Between Us by Abraxas52 - T, 64 chapters - Professor Granger is a very busy woman, so busy in fact, that she can hardly believe Headmaster Garth has made it mandatory for all professors to sit-in on any class offered on campus each term.Turns out Astronomy is quite a fascinating subject, except for the small inconvenience that Draco Malfoy is the Professor. Welcome to the first term of the year, where Astronomy, Divination, Charms and Transfiguration collide and turn the lives of Draco & Hermione upside dow

Creep by Cr0ftisprocrastinating - M, 28 chapters, Words: 138,900 - Five years after the Battle of Hogwarts, Hermione Granger is running out of time to restore her parents' memories. Hoping a Master's in Medical Anthropology at Oxford will help her unlock exactly how memories can be recreated, she ends up bumping into the last person she expects to see at a muggle university. After finally completing his house arrest, Draco Malfoy wants to understand how he was conditioned to believe in Pure Blood ideals. A Master's in Social Anthropology seems the best way to free himself from his past. Until he runs into the very person who haunts him.

Bone Mortar by mightbewriting - M, 6 chapters - Draco clenched his teeth, forcing sharp, shallow breaths through his nose as he ripped open the door to his usual lecture hall only to find—someone at his desk. Well, he supposed it was technically less his desk and more the desk as he didn’t actually own this particular classroom. But since he’d taught in it for the last four semesters he at least felt like he’d earned a sort of common law ownership. The woman—presently possessed by what looked like a semi-sentient mass of curls atop her head—looked up, eyes widening before she graced the space between them with a kind smile that could cut through any density of grit or dust or grime. The sort of simple smile that could pulverize rocks: be them buried in the earth or caged behind ribs. He stared at her, belatedly and painfully aware that his mouth had curled into a sneer mostly without his consent. [In which two otherwise intelligent and dignified people fight over a classroom and realize they are very, very into each other.]

-Lisa

[sororalice]

On The Blessedness Of Rest

A homily for the Autumn/Spring Equinox on September 22, 2024. Dedicated to a rest ally.

Dearly Beloved,

A very blessed Autumn Equinox to those in the Northern Hemisphere and a very blessed Spring Equinox to those in the Southern Hemisphere! Recently, I have been reminded by one of my household spirits of one of the most overlooked experiences in our spiritual lives, and so in my gratefulness I have written this homily dedicated to that spirit.

In our rise-and-grind “western” culture spawned by the twin hellscapes of authoritarianism and late stage capitalism, we are taught to work hard year round, to maximize productivity, and that any rest or relaxation is an indulgence, a weakness, and (often) a sin. As mages, it is all too easy to apply this same mentality to our magickal and spiritual lives. We get caught up in our initiatory work, our daily practices, our relationships with our deities, ancestors, and ally spirits, the spiral of solar and lunar rituals in our liturgical year, and, for many of us, our teaching, pastoral, and artistic vocations. All of that often leads to tired and cranky mages.

We could use a nap.

And so, on this day where my home here in Northern California begins to tip over into the dark time of the year, the period of sleep and rejuvenation for half of our beloved planet, I am moved to speak on the virtue of sleep and the joys of regeneration. I am moved to speak on periods of just letting ourselves take a breath.

I am moved to speak on the blessedness of rest.

To be sure, work is necessary in the spiritual life. I believe strongly that we are here to learn and experience and grow into the Divine, and all of that takes sustained effort. This is a basic and brute fact of our existence as mages and mystics. But I want to invite—and perhaps to gently challenge—you to take a fresh look at the notion of the “Great Work” and to question where that notion has taken us.

First, the term “Great Work” or “Magnum Opus”, while it comes to us in the modern “western” occult world as an artifact of that particular batch of occult traditions extant in the late 19th and early 20th centuries, originated as a term in alchemy. It has absolutely nothing to do with the notion of work as a virtue or work for its own sake, the so-called “Protestant Work Ethic” made famous by sociologist Max Weber. The alchemical usage of the term “work” is more akin to an “action” or “undertaking”, and expresses in alchemy the process of transforming a “base” or “imperfect” substance, such as lead, into an “ideal” or “perfect” substance, such as gold. This process was understood as being both literal and mystical; the medieval alchemists were just as often trying to produce perfect people as they were perfect substances. In alchemy, the development of spirit and matter are wed together into one undertaking.

Our honored ancestors in the craft, such as groups like the Hermetic Order Of The Golden Dawn, the A.’.A.’., and the Aurum Solis, inherited the traditions of alchemy and then used the term “Great Work” to describe their systems of initiation, of spiritual alchemy. This usage has found its way into modern “western” magick. As lead is “perfected” by being transformed over the stages of alchemy into gold, so too many modern mages conceive of themselves as being “perfected” over the stages of various systems of initiation and mysticism.

I am not ashamed to admit that I am one of these…I am a true believer in the Great Work. Much of my life since I was 12 years old and my mother bought me my first book on magick has been dedicated to the Great Work. I have officially drunk the Great Work Kool-Aid and subscribed to the Great Work newsletter.

And let me tell you, esteemed friends and colleagues, I am tired.

Every mage I know is tired. My colleagues online are tired. My primary teacher back in Santa Cruz (some of my older friends might know who I am talking about) was in his late 40s and early 50s when he was training me, and he was tired. Before he died, my dad was tired (as those of you who knew him can attest). We’re all tired. The Great Work has taken its toll.

We need rest.

As pagans, we subscribe to a naturalized theology. I repeat this endlessly, in homilies and essays, in social media posts and conversations with my peers. I believe devoutly that the surest and clearest knowledge we can have about the Divine is through Their manifestation in, with, and as nature. We meet our deities and allies first in nature, in the elements, in the Sun and the Moon, and in the planets and the stars. Nature is divine and the Divine is, in a very real way, nature. So what does nature, the world that the Divine has created and become for us, through us, and with us, have to teach us?

Nature teaches us that there is a time to grow and a time to consolidate that growth. Light and dark. Day and night. Summer and Winter. A time to reach out our branches to the sky and a time to send our energy back down into our roots. A time for waking and a time for sleeping. And yes, a time for the Great Work and a time for a Great Rest.

The equinoxes are moments of a balance point between light and dark, warm and cold, growth and death. Today the world tips over to the other side, and in the Northern Hemisphere, we move into the time of pulling back within, to the time the darkness begins to eclipse the light. So let us honor that time by taking a breath. Let us turn down the light and settle snug into bed with our favorite people and spirits. Let us lay back and let ourselves doze for awhile.

Let us rest.

Pleasant dreams.

In love,

Soror Alice

Art: Octave Tassaert, “Sleeping Seated Woman”, (19th century)

[prima-materia-ttrpg]

Species Highlight - Koura

If there's one thing I know, it's that lobsters are cool. If there are two things I know, it's that they're immortal and one of these days a cult is going to help a lobster molt for over a hundred years until it takes up the space of an Olympic sized swimming pool and they worship it as a new god.

Anyways, here's a highlight from the depths of the oceans, the very playable Koura species.

The Koura, like the Ternaki, are functionally immortal. Adults usually grow to be around 7 feet tall and 20 feet long. During the course of their lives they never stop growing, but they do eventually get so big that they can't move anymore. This happens once a Koura starts getting to around 500 years old. Koura are amphibious and can breathe in both water and air, though many would rather stay in the oceans if only because it's easier to walk around.

This isn't to say that some Koura cultures don't incorporate land-based cities and such. Many sedentary Koura civilizations enjoy interacting with other species and their cultures on land.

Most Koura, however, are semi-nomadic; seasonally migrating between shallow, hot latitudes in the summer when they have children to deep waters of any latitude in the winter. The semi-nomadic Koura are organized in autocratic societies, with warrior-kings at the head of groups; generally relying on trusted friends or family to give them advice. They are concerned with survival and the continuation of their way of life, hunting large sea monsters and foraging for food. They preserve their stories through oral history and shell etchings, a Koura Lorekeeper has many generations of stories both memorized and etched into their shell.

One such legend is that of a Koura King who lead the charge on an existential threat to the world - when the hollow god deigned to fill itself with the flesh of every living thing and the substance of all that is, she stood in battle while alchemists used powerful alchemy to seal it at the bottom of the deepest trench in the whole of the world. This king survived and continued leading her people. Eventually, when she got too old to walk on her own, her people put her back near the trench and took care of her in her old age. Thus, the valley of the kings was born. Many Koura take pilgrimages to this place to offer food and supplies to the monks that are there, taking care of many kings who have grown too old to lead their people until they are ready to die. The king who fought the hollow god declines death, and has been in the valley for over two thousand years enjoying herself.

Tradition and Lorekeeping

Koura have a strong tradition of keeping stories alive. Every nomadic group has at least one Lorekeeper, and sedentary Koura cultures generally have orders dedicated to preserving history in one way or another, whether they be more academic in nature or closer to their Lorekeeper roots.

Lorekeepers hold a high place in Koura society, and often find themselves as confidants to community members seeking guidance for hard decisions thanks to their wealth of knowledge about the past and perceived wisdom.

Any Koura can become a Lorekeeper, but it is quite the undertaking and is steeped in religious tradition. A tribe's current Lorekeeper chooses one or more successors to train and mold into new Lorekeepers. They are taught the oral tradition of their tribe; religious and mythological legends, philosophy, and history. At some point, when the Lorekeeper thinks their apprentice is ready, they undergo a rite of transformation to become a Lorekeeper themselves. The rite of transformation involves the apprentice going into a cave to meditate in solitude for three months. Over this period, the apprentice challenges themselves mentally, and meditates on various stories and Lorekeeper traditions, forging their own views and philosophy with context from their oral tradition on what it means to be a Lorekeeper. Physically, the Koura's body undergoes changes as well, by the end of the three month period whether the apprentice was male or female the changes cause them to become a third sex able to take on the role of both. This form is religiously significant in many Koura cultures, and is an intentional part of the ritual.

After a Koura becomes a Lorekeeper, they choose their first story to be etched into their shell. New Lorekeepers continue to aid the elder Lorekeeper and learn from them, being an apprentice never truly stops as there are many stories to record and tell.

When a Lorekeeper molts, their shells are preserved and bound together as books, and new stories are etched into the new shell. Some of these books have been with Koura tribes for thousands of years.

Life among other species

A far cry from the waters of the ocean, some Koura do make their way onto land every now and then. Some are even permanent residents of land-based cities. Nomadic Koura tribes will often trade with land-based civilizations for nontarnishable metal goods. Sedentary Koura civilizations trade with their neighbors both on land and in the oceans, generally producing large quantities of food. In some places, Koura settle in the oceans directly next to land-based cultures and over time their cities and the cities on land become more intertwined, to the point of being a single city on some occasions.

The largest standalone Koura settlement, or group of settlements rather, that's on land is on the shores of Meridionalis. The Koura there have called the shores of Meridionalis home for thousands of years. Some Koura on Meridionalis tell stories of a time of co-existence with humans on the continent, but the human civilization there vanished long ago if it ever existed in the first place.

Koura that choose to live in land-based cultures will often find themselves doing jobs requiring strength. Labor jobs, hired muscle, and adventuring are all relatively easy jobs for Koura to get into. Some Koura are hired as farmers because their claws make for good plows, and they can move hay bales like they're nothing. This isn't to say that all Koura do physical labor jobs, of course, there are many accomplished alchemists, astronomers, chefs and all manner of other career-focused Koura in the world. One Koura, Robu, owns a wandering restaurant called "Nhànten Ebi" which is very popular along the West Coast of Atiyeret.

The Logistics of being a Sea Monster

Koura, as a playable species, are hard to figure out. They have hefty natural armor, hit like trucks, can't jump or climb, their language is unpronounceable to other species, and most characters will be around a ton or two. These things, realistically, should rip up or at least severely damage cobblestones when they walk on them. They can't even fit in most doorways. So how do I write them mechanically? How do I incorporate them into the land-based setting in a way that makes sense for players to interact with the world?

The narrative question is much easier than the mechanical one. Places that see a lot of Koura will have accommodations for them, and Koura wear rubber capped "shoes" in and near towns so they don't rip up the ground. Many Koura on land will have retainers that know their language and can translate for them. Other narrative questions about the Koura's unique physiology can be answered in similar ways.

Mechanically, it is hard to balance the Koura. Luckily, the species in Prima Materia are meant to be somewhat asymmetrical anyway, with skills and features being more closely balanced. However, I do need to make sure the Koura aren't too crazy while staying true to how I want to portray them as creatures. At the moment, they start with the best natural armor in the game, but not the best overall. It is above average. They can also use their claws as melee weapons, which only really make sense as the best blunt weapons in the game considering most other blunt weapons are much smaller and Force = Mass x Acceleration. There's quite a lot of mass in one of those claws (not to mention the sheer force of getting caught in one). The only other unique trait they currently have is "Exotic Body Plan," which lets them roll an extra die for checks involving Strength, and doesn't allow them to swim, jump, or climb.

As always, thank you for reading this far. This post took a while to write as I was forced to make the Koura interesting (actually worldbuild beyond "I like lobsters, I want lobsters in the setting"). If you want to make your own Koura and perhaps use it in play, here are the playtests for Prima Materia. Next week (or I suppose in half a week, because this post took so long) I will talk about Ranged Combat and some lessons in failing miserably.

And of course big thanks to @donutboxers for the art (it's taking commissions btw)