#werewolf thesis

[smolsleepyfox]

hello! I've been listening to Wake Up the Wicked on loop pretty much constantly for the past couple days and keep finding new things to love about it! in particular I have many Thoughts about the way Powerwolf's songs with women as the focus have shifted over the years. unfortunately when I try to articulate those thoughts they mostly just come out as "AAAAAAAA Vargamor and Kyrie Klitorem and Joan of Arc just FEEL like such an important thing! I've been a fan for so long but something about these songs makes me (as a fem-adjacent person) feel like I can actually be part of the group!" in one of your posts about your thesis, you note how there's never been a Powerwolf song with a woman werewolf — I'd never noticed that until now, tho Vargamor and Dancing with the Dead feel close. examining that distinction is fascinating!

considering you've got a whole thesis on it and so will likely be able to go deeper than me, I'd love to hear any thoughts you have on how gender is handled in this album as compared to others, and in general, who "gets" to be a monster!

Okay this is a great question and also funnily enough something I've spoken about with another friend recently.

So the thing about monstrosity is that it is very heavily gendered. This doesn't start but is reflected in the Middle Ages where monstrosity is physical (since the distincion body/mind didn't really exist) BUT directly related to gender roles. The example most scholars go with are the Amazons, the mythical warrior women. They are monstrous because they only have one breast AND because they take on both gender roles, making clothing (female) and hunting (male). If you behaved weird people would assume you had a physical abnormality and a physical abnormality could be a sign of somethig wrong (e.g. witch marks). Note that "monstrous" isn't technically synonymous with "bad/evil". From what I gather, bestiaries and collections of monsters from far away lands were a curiosity with no inherent moral dimension, although it obviously held implications for the treatment of queer and disabled people, foreigners etc. Dana Oswald splits monstrosity into hypermasculine, hypersexual (feminine) and hybrid. Hypermasculine is exactly what you think it is, werewolves, giants, anything that is large and hairy and ravenous. The theme here is Taking. Wealth, sex, someone's life. Interestingly, exaggerated sexuality in the middle ages was culturally feminine, so centaurs are monstrously feminine due to their exagerrated sexuality. Another example are sirens. Hypersexual/feminine monsters seduce instead of take by brute force.

About werewolves specifically, let me open with Willem de Blecourt's opening line in a book about werewolf history: There is no werewolf history. What we today see as a werewolf (and Powerwolf uses as a mascot) is a modern cultural concept that is only an approximate to other times and cultures. Let's take the Varcolac, a creature from Slavic mythology (spelled differently in different languages). The Varcolac is often translated as werewolf, but if you look at the mythology it is - simplified - a reanimated corpse that drinks blood. Usually it's a person who was evil/frivolous/was excommunicated in life that rises again. So for all intents and purposes it's a vampire. Powerwolf does have some werewolf/vampire hybrids in their music and on tshirts, but since werewolves and vampires are both hypermasculine monsters that's only a side note.

To talk about as actual a werewolf as possible, you know 1589, you know the story of Peter Stubbe. Peter Stubbe was a highly publicized case that influenced later ones. Elements of his case reappear in trials in the low countries, Germany and England, but not in France because the pamphlets telling his story were not translated into French afawk. Some details also bear striking resemblances to earlier French cases, so it's very difficult to know what actually happened. Peter Stubbe single-handedly (heh) cemented the image of the cannibal werewolf for the early modern public BUT he's an outlier. Werewolf Georg if you will. Cannibalism is definitely a defining trait of many werewolves but almost everything else is different from our modern understanding. The persecution of werewolves in central Europe was almost completely tied to witchcraft allegations. Without getting into historical witchcraft as a whole, there was a concept of male and female witchcraft in line with the gender roles of agrarian society. A werewolf was related to violence against people and livestock as well as sexual threats. Just like witches, werewolves were assumed to transform with an ointment or belt given to them by the devil. The transformation is not physical, just like witches can't actually fly but fall into a trance (induced by the devil). [Note that the idea of physical transformation has been a MASSIVE point of debate for church scholars for as long as said church existed. Go take a look if you're curious.] More modern werewolf lore (1960s) from the B/NL/DE border region shows werewolves to be a shorthand for unacceptable liaisons and sexual assault, possibly homosexuality and bestiality, but usually just people dressed in a wolf pelt taking the piss. The modern idea of the werewolf, specifically the bipedal form and painful transformation is a Hollywood product. We can quite easily pin the origin on one specific film: The Wolf Man from 1941. The transformation and visual presentation was driven by the improved special effects of the film industry and their desire to give people a spectacle. This is also a central trait of monstrosity: It is physical because people want to see it.

SO! If we're being pedantic, no, werewolves are not inherently male. A handful of women were prosecuted as werewolves, though they were the minority within the already minor number of werewolf trials. But it is a fact that the majority of werewolves are male throughout history and werewolf characteristics are - as Dana Oswald puts it - hypermasculine, meaning they exaggerate and therefore threaten the dominant concept of masculinity in a given societal context. That's the baseline of monstrosity- it breaks boundaries and threatens the system it inhabits while reinforcing a rule for the listener.

It's notable that female werewolves in modern film are almost never seen transforming, including in staple films like Underworld. You have those beefy werewolf guys and the women just. Stand there. An outlier that gets quoted in almost every paper I've ever read is Ginger Snaps, which directly deals with the way Ginger's lycanthropy makes her monstrous both in breaking the boundaries of human/animal but also what is acceptable behavior for a girl. I don't have the sources to back this up yet but I see a strong parallel in this to women in Metal in general. Think about it, Metal music is counterculture and is almost defined by depicting monstrosity (satanism, violence, etc) and breaking the boundaries of what is music. Women in Metal are "monstrous" by associating with the transgressive scene the same as men - except they get held to a completely different standard. Metal is so male-dominated the ideal (visual, behavioral) gender presentation cannot include femininity or at least makes two clearly gendered molds. Women in metal, then, have to balance being "Metal" and being sufficiently feminine to be accepted. The male ideal I like to call the 'Metal warrior', because he's so often inspired by historical warrior culture but primarily defines himself by being large, strong, possibly aggressive and definitely drinking a lot. Everything that is masculine but juuuuust over the line of polite society. Which is what Powerwolf sings about as well, they just made it a furry.

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ANYWAY sorry for the long-ass background info, I got carried away lol. Note that for the next section, I am doing this off the top of my head since I haven't gotten to that part of the analysis yet. The deadline is approaching, send help.

I like to call Powerwolf my problematic faves because as camp as their performances are and as self-ironic as they try to make themselves out to be, their lyrics and videos are profoundly cishet. This isn't a criticism, just an observation. As far as we know they are cishet men from a rural part of Germany (and one Dutchman). I know we make jokes about the homoeroticism between Falk and Attila but I would not be surprised if they had no idea that's what they're doing. Most cishet people do not think about queerness unless they have a reason, and in a lot of social circles there simply is none. They just don't even consider it. There's something to be said about homosocial bonds in metal music but that's a topic so large I'll skip it for now. The only queer aspect I've seen in the entire history of Powerwolf is that lesbian kiss in the music video of No Prayer at Midnight and that was so blatantly male gaze-y I'm not sure if it even counts. So, fair warning, I'm going to say men and women as in cis men and women because I'm on mobile and typing is annoying as is.

First off, to answer your question: Yes, women have absolutely become a bigger part of Powerwolf's repertoire. Joan of Arc is a historical story that they implemented beautifully, and so is Vargamor. While I personally don't like Kyrie Klitorem it's definitely interesting to analyze in a wider context. What does stick out is that the majority of women in Powerwolf's music are sexualized in some way along with sexuality becoming a larger part of their theme in general. As far as I can see, sexuality was actually not a major part of the Powerwolf brand until Sacrament of Sin. Coleus Sanctus and Resurrection by Erection are from albums before that, but they're single songs on albums otherwise concerned with werewolves, vampires and that warrior image I mentioned before. Their earlier videos have almost never any side characters and it's mostly about spooky priest things and/or werewolves (kind of mixed with vampirism, which is a parallel to the Varcolac).

In general I would say there are two 'roles' that characters in the PW universe take and it was kind of hard to find the right wording, because depending on your reading they have VERY different connotations. I'm just going to call it the 'active' and the 'passive' right now until I've explained what I mean.

Women are sexualized in the music and the videos/artworks. That's just a fact, and hasn't changed much from the beginning until now. It's not even out of character for Power Metal as an heir to classic Heavy Metal and Glam Rock. Powerwolf sing about sex, specifically hetero sex, and mostly from the perspective of cishet men. Matt even said in an interview many years ago that he's unsure if he could write about pussy because he doesn't have one. Yes, really.

The language of the music is clerical, and commonly from the viewpoint of a religious person/priest of course, which reinforces the themes of wildness/hedonism by contrasting them with what is 'proper'. Circling back to my explanations of monstrosity - improper behavior and improper physical appearance are linked, so to break the laws of faith is to become monstrous, possibly physically. The band constantly portrays this overstepping of boundaries in a religious context. Call of the Wild quite literally says "To praise the wild while the bible we're tearing". Corpse paint I would argue I'd a visual marker of monstrosity as well, especially since the band are usually the only ones in that type of makeup.

Just visually, women are a big part in Powerwolf's art and video as side characters, especially burlesque dancers, and they're typically a shorthand for desire and sexuality. Open sexuality is a massive taboo in the Catholic Church, especially in the pseudo-medieval world their music inhabits. And a woman being active in her sexuality, even choosing what, who and how to desire is far over the line even in many modern societies. (Ginger Snaps tackled this as well.) So let's take a look:

There's Demons are a girl's best friend, which is on the surface a warning against being "corrupted" by demons (sexuality) but can also be interpreted - as the title suggests - that the female protagonist is quite aware of what she's doing and likes it. Kiss of the Cobra King shows the female protagonist in white, standing in for purity, before being corrupted and possibly killed for her transgression. Still unsure about that video tbh. Dancing with the Dead is less sexual and leans more heavily into the corruption (by witchcraft?) angle. I feel like there is a disconnect between text and video in this one because in the video, the female protagonist doesn't look at all willing to dance and Attila forces her to, whereas in the text the protagonist seems quite aware and in control of what she's doing. Undress to Confess is pretty fucking clear that the woman is having fun and the artwork shows a nun, while naked, in a dynamic, powerful pose. This is what I'd call the active role. There's also the flip side of that active role that isn't passiveness but control:

Kyrie Klitorem is about how women have power over men by virtue of their sexuality. Powerwolf often uses 'we' in their lyrics and while that's technically a non-gendered pronoun, the songs suggest the narrator is a (cishet) man. Venom of Venus is also similar in topic and structure, and the vampire queen from the Killers with the Cross video is also clearly in control while being sexy (as are the hunters).

So in the 'active' role, women can be corrupted, seductive as well as empowered, it really depends on your reading. Same goes for the videos by the way - the dancers can be shown in an objectifying way, but thinking of the dancer in My Will be Done she is on equal standing with the other characters asking Attila for something. (Also, burlesque dance is an awesome art form.) Angel and Devil in that same music video are portrayed by women. However, the reduction of a woman to her body is obviously part of a long history of sexualization.

Which brings me to the passive role and the use of the nun image. Nuns have been sexualized for absolute ages. There's drawings and gossip from the Middle Ages about nuns and priests doing stuff they shouldn't. Good for them etc pp.* Powerwolf is really not reinventing the wheel by contrasting the nun's modesty/virtuousness with unrestrained sexuality. I mean look at this.

The role of women in the Catholic Church is an entire can of worms by itself. In Powerwolf's art, the love of Jesus/God is just placed on a different figure. I actually hesitate to interpret what the intention is, if it's critical of the church or a power fantasy. They absolutely criticize religion in their songs (Glaubenskraft, Sinners of the Seven Seas) but their visuals are also heavily inspired by historical art and can just be meant to look cool. That's something the band stresses in almost every interview when they are asked about deeper meanings: It has to be entertainment first. Their cover artist Zsofia Dankova told me the same: Looking cool has priority.

So nuns are in general portrayed as subservient, as they are in history and art, and sexualized. The focus on the band in performances - which in itself isn't really that surprising - and Attila's and Falk's role as 'clergy' does put them into a position of power. Here's where it gets interesting, because the bottom line of Powerwolf has been and is Have fun. In Wake up the Wicked it's a major plot point that one of them actively invites the young priest (altar boy? Idk I grew up Protestant). The artworks draw on art conventions from pulp fiction and classical works, but if you look at the lyrics involving women** it's either about submitting yourself (to pleasure) or actively seeking it out.

This has gotten way too fucking long but here's a minor detour before we get to the end. What else does PW sing about? Yes, werewolves, and history, but regardless of the underlying inspiration (Blood for Blood is about an Irish legend, I wouldn't have guessed that just from the lyrics) they sing about either bravery and power, or excess and hedonism, sometimes both. I've already mentioned the warrior ideal in my introduction, and that does a LOT of heavy lifting. Many of the artworks and merch have some sort of military theme, especially the crusades because that's fitting for the medieval-ish vibe the band has. The 'holy' knights as werewolves is both commentary on the actual crusades in a way, but also puts the listener into the body of a powerful beast heading into battle, which is just plain fun. Plenty of music is about riding into battle, Viking Metal exists. I spoke to Zsofia Dankova, Powerwolf's resident visual artist, and asked her what she thinks about the werewolf being implicitly male. She said she doesn't really see the werewolf she draws as gendered because it's just a symbol, something that stands in for power. I was a bit dubious about that answer at first, but it actually shows my own cultural bias, because that is the connotation of the werewolf at work, not the artwork itself. You can absolutely argue that the positions and clothes the werewolf is in (see image above) are men's, but for the most part, the wolves in their art are clothed in simple robes or armour that anyone could wear. It is just convention that makes it seem male. Growling (the vocal technique) is also male-coded even though men and women who growl sound identical.

I'm not going into more detail about the depiction of masculinity because y'all can read my thesis for that. Instead, I want to return to my introduction about what is considered monstrous: The breaking and exaggeration of social norms. Sexuality is what makes the women in Powerwolf monstrous - alongside a proclivity for witchcraft. Vargamor shows her to be a mother as the name implies, but more importantly a wise leader and powerful magic user. It's implied that she can fight, but the chorus is more insistent that she dwells in the shadows and is a steady presence for many different iterations of the pack through the years.

The men on the other hand are shown to be monstrous by being violent, hedonistic beasts. The songs again and again reiterate wildness and unrestrained summer fun battle prowess. Technically you could argue that 'we' doesn't have to mean men, but that would ignore centuries of cultural connotations and that it needs a pretty good in-text reason to assume an all-male metal band is writing their songs in a female lyrical I (we?).

Powerwolf quite simply portrays monstrosity as it has been since the Middle Ages, along gendered lines. This makes sense because they draw on given cultural conventions, history and folklore, they're just on the side of the monster. There's definitely something to be said about the sexualization of women in Metal and the male gaze, but the wolves have also very clearly heard the call for more female representation.

If anyone is still reading, congratulations I nearly drove myself insane here.

* As with most things in life, this isn't black and white. Nuns had some social advantages and there were most likely plenty of consensual relationships, but as women in a patriarchal society they were still under the authority of men who could harm them. ** I excluded Glaubenskraft because that song breaks with the Powerwolf universe by adressing a current, real-life injustice. Completely different topic.

[smolsleepyfox]

How the FUCK did this get so many notes so quickly???? Alright, I had to wait for the ibuprofen to hit (headache) but now I'm at my laptop.

My impetus for the thesis was actually just "hello I like Powerwolf (German power metal band who sings about horny Catholic werewolves)". And I somehow managed to make an academic topic out of that. I'm only just starting out, I have like. 3 pages of text but here's what I got:

Chapter 1 is about conceptions of monstrosity - what is a monster? Why? The basic text you need for this is Jeffrey Jerome Cohen's Monster Theory. He's probably THE monster scholar, and his seven theses are a fantastically concise way of defining what monsters. (Very simplified: They symbolize cultural anxieties and rules by breaking them.) I also very much enjoyed Religion and its Monsters as well as the Ashgate Research Companion to Monsters and Monstrosity. The latter I would also consider essential reading, because it spans a broad number of topics and approaches in like twenty essays.

There's also Monsters, Gender and Sexuality in Medieval English Literature by Dana Oswald. I'm going at this from a historical perspective because Powerwolf as my main example is heavily based in biblical language and folklore and I just kinda like reading about medieval ways of thinking.

The next two parts of the chapter will be about gender (presentation) and the werewolf. For gender stuff, Judith Butler is pretty much required reading, but I've also looked at Michel Foucault's ideas on Discipline and Sexuality. I read the abbreviated texts in Literary Analysis: An Anthology because anything else would be insane. Dana Oswald (author of he book about middle english monsters) also wrote about monstrous gender in the Ashgate reserach companion. Oh and I really need to reread Judith/Jack Halberstam's Female masculinity, because gender transgressions are a major part of conceiving monstrosity throughout history. Frankenstein has been researched to death (pun intended), but there's also aspects of gender in Dracula.

I'm still looking for research on werewolves but so far I got some interesting info on localized legends from the German/Flemish/Dutch border region and interpretations of historic literature such as from Iceland. I also learned about the shared conceptions of werewolves by medieval Christians and Jews. And lastly, there is a master's thesis about female werewolves that I found extremely interesting. All in all, the werewolf is both at the border between beast and man as well as exceeding gender roles through hypermasculinity and possibly aberrant sexuality. I'll probably have to write something about witches too because there's some parallels between the treatment of suspected werewolves and witches, but that definitely needs more research.

My current plan for the thesis as a whole is to to relate monsters and werewolves to the broader aesthetic of metal music, where the breaking of societal boundaries is part of the scene's identity. (Heavy Fundamentalisms has some great articles.) There's of course the warrior image that plays a part in some subgenres but the genre as a whole can be interpreted as playing with monstrosity through sound (harsh vocals), behavior (moshing) and looks (corpse paint).

Powerwolf specifically imagines their shows as a Catholic mass while wearing corpse paint and singing about blood and sex. (Similar to Ghost, which is why I'm honestly baffled PW isn't more popular on tumblr.) Their artworks often show werewolves as knights, church authorities and on the cover of the album Call of the Wild even as God. It's kind of flip flopping between the wolf keeping the faith and submitting to the wildness while both is depicted as interesting/desirable in a way, so that's a fun dynamic to explore. They don't actually have a "canon" but the themes are fairly consistent. In the past albums they've also had some women protagonists but they're notably not werewolves, so that will absolutely be something to discuss.

Anyway, go check out Powerwolf, power metal is pretty easy to get into and their live shows are fun.

Not really a question, I'm writing my bachelor's thesis on the representation of monstrosity and gender in metal music and I found so much good stuff on jstor, thank you :3

Please tell us more

[ask-walter-and-vince]

Flustered (animation wips)

[sweetnnaivete]

tall sirius and regulus save me tall sirius and regulus

[guppyscolita]

Asking nicely to see your werewolf Montague interact with Midas 🥺

Not really a direct interaction but I did this thinking on them

[nyaagolor]

If Nemona were a werewolf, how would her friends react? I think it might be a cool mini comic idea

the same way they react to every other scary beast they encounter: offer sandwich

[gorgynei]

Do you have any werewolf media recommendations? Books, shows, movies, anything regardless of age. I really need something to sink my teeth into, and you know your werewolf stuff.

oh YES i definitely do. here's a list of stuff i enjoy and recommend, grouped by type for ease, with my personal favorites starred ^_^ these range from very very good to mediocre but fun to watch anyway

SHOWS: teen wolf (2011-2017), wolfblood (2012-2017)

MOVIES: an american werewolf in london (1981)* , werewolves within (2021), wolfwalkers (2020)*, viking wolf/vikingulven (2022), silver bullet (1985), ginger snaps (2000)*, wolf children (2012)*, dog soldiers (2002)

BOOKS: lycanthropy and other chronic illnesses by kristen o'neal*, rules for werewolves by kirk lynn*

also worth noting are the werewolf pride movement by caitlyn b. giacopasi and the werewolf: past and future by maegan a. stebbins which are much more like theses than media, but great reads if you want really awesome historical analysis of werewolves

[fearandhatred]

anyway the point is that in avengers 1 tony sacrifices himself to save the world. in avengers 2 he puts his life and his reputation at stake to save the world. in avengers 3 he sacrifices his freedom to save the world. in avengers 4 he's willing to sacrifice himself to save the world. in avengers 5 he sacrifices himself to save the world

so the point is. the point is that tony has done nothing but make the sacrifice play while steven grant white boy american patriot rogers has uh. he ummmmmmmmm. gimme a second

[storybook-souls]

total wordcount for the year is 122,758. kind of based.

[smolsleepyfox]

Trying to wrap up my chapter on werewolf depictions and I WANTED to mention how aggression and exaggerated sexuality (which is a key trait of werewolves from the middle ages and possibly earlier until today) has been turned into something desirable in contemporary werewolf literature

Then I realized if I did this I'd have to mention Omegaverse and deleted the entire paragraph

[darkdreamtheorist]

Pluto Rises* (Paul Rudish Mickey short fanstory)

I’ve been looking deep into the Goofy-Pluto Paradox in all of disney media, where regular and anthropomorphic animals coexist yet there are others (**Doug Walker**) who flip out on the logic, can’t get how some animals are in clothes and gloves and others are naked and as pets. Now I did see the Paul Rudish Mickey Shorts on Youtube then Disney+, like the one where Goofy took Pluto’s place for a Dog Show BUTT NAKED ON FOURS, and one with Donald getting treated for Flipperboobootosis by the same bear that attacked him now in full doctor gear, when he chased him Mickey n Goofy for some honey on the sore. Yeah these are meant to be enjoyably chaotic for younger kids, maybe older ones n teens too, but normal thinking grownups see this and its some psychotic naked man on fours, or a furry. DON’T OVERTHINK THEM OLDS!

But I would like to see how far this paradox can go, push the envelope and see how disturbing it would get, with a Mickey Short of my own (*comment for a better title):

As Von Drake demonstrated his new telepods at the same science expo he showed his shrinker, Goofy and Pluto smash into a pod together, coming out the other fine at first,but in Jeff Goldblum Fly remake fashion, slowly yet humorously turn into one another. Mickey needs to return them to the pods and thru usual hapcap antics reverse their “curse” before they remain like this for life! (until the next short, these are episodic serials y’know!)

Certain key points for this short:

They only start switching body types and not voices til later; Pluto still barks even as a Dogman in Goofy’s hand-me-downs and Goofy still talks to people and even other dogs in his four-legged state, unaware how its disturbing the peace and sanity of other folks. Midpoint in the short is when they gradually become one another: Pluto speaks for real telling his mouse owner and Ludwig of the dilemma they need to fix, and as Goofy enjoys his Dog Days, he exhibits more canine instincts he can’t fully control, like chasing Peg-Leg Pete cuz he is a cat or fetching thrown things like sticks and frisbees then burrying them, leading him to the Pound at some point.

The transformations don’t need to be too graphic like the Fly remake I mentioned, but not so exaggerated where the bodies start morphing to and fro. As Pluto starts stretching awake, he begins to stand up and scratch himself with his front paw, followed by both paws becoming his hands and feet, while Goofy at some eatery drinks his water with his long tongue and his back aches only to now stand on fours on his newly formed paws, his gloves don’t fit him and takes them, his shoes and clothes off looking like a stray. Meanwhile Pluto goes to Goofy’s house and wears his clothes for the time, feeling blushed at his nudity as a Dogman, still wearing the collar.

Would it work as a real Rudish Mickey Mouse short, or should I bury the idea? save your thoughts in the comments

[ask-walter-and-vince]

Thesis?  👀

[guppyscolita]

I can't remember if I ever mention this

But I run a couple of fortnite-related askblogs here!

@the-star-of-copernicus

@lil-whips

Sometimes I post silly doodles here and there, feel free to interact

[forthegothicheroine]

I'm preparing to deliver my thesis "You Need a Snout Or You Just Look Like Bigfoot" to the International Movie Werewolf Association. I may die, but the truth must be spoken.

[gorgynei]

[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.