#Spellcraft Essentials

[lancsgreenwitch]

Imbolc Spell Jar: How to Manifest Fresh Starts and Growth

Imbolc Spell Jar: Manifest Fresh Starts and Growth Imbolc, celebrated on February 1st or 2nd, marks the midway point between winter and spring. It’s a time of renewal, hope, and the promise of growth. A spell jar is a beautiful way to honour the energy of Imbolc, allowing you to set intentions for fresh starts and new possibilities. In this post, we’ll guide you through creating a powerful…

[samaels-gurl333]

Carrier Oils & Correspondents

Aglmond Oil-Prosperity, Money, Wisdom

Avocado Oil- Love, Lust, Beauty

Castor Oil-Protection,Absorbing Negativity

Coconut Oil- Purification, Protection

Grapeseed Oil- Fertility, Money, Strengthening Mental Ability's

Jajoba Oil- Healing, Love

Olive Oil- Healing, Peace, Fertility, Protection

Sunflower Oil- Protection, Fertility, Health, Wisdom

[butterflytarot]

CITRUS essential oils

Citrus (orange, lemon, grapefruit, etc) essential oils are often great for physical or emotional healing! Some people also use citrus for healing in general - including spiritual, energetic, etc - but it's not as efficient in these areas.

If you struggle with anxiety or chronic conditions, or just think this could help you, give it a try!

All you have to do is find some safe, ethical oils and burn them over a candle to fill the air in your home with the sweet scent of citrus fruits!

Thanks! I hope this tip helps! *Please do not use in place of professional medical care.

[julienelson]

Gemini Full Moon tonight at 20.16 AEDT

Ruled by Mercury Gemini is the sign of communication and, when we have a Gemini Full Moon it can cause us to overshare, talk too much, or misunderstand what others are saying...

Gemini’s influence is also about the thoughts and perspectives that imbue our spoken word.

It’s about energy exchanged through subtle signals and body language.

It’s also about shifts in perception that allow us to jump from one narrative to another.

Being an Air sign Gemini moves quickly, they love to gather information, love to do everything that everyone else is doing!

Are you ready to redifine your narratives? Full Moon brings truths to light, trust your intuition your higher self.

This is a powerful Full Moon to release doubts and your own stories that hold you back...It is an opportunity to shed the old and create the new...release any limiting beliefs you have around yourself and what you can achieve. Perhaps you can pull out the Tarot card 'The Tower' I love this card for it is all about breaking down the old to begin the new. An essential oil blend that is perfect for this is Cypress, Grapefruit and Juniper (these are also Scented Goddess in The Fragrant Oracle you can purchase them here - https://www.julienelson.com.au/the-fragrant-oracle)

During this full Moon in Gemini allow yourself to feel its power of transformation to help you recallibrate your thoughts and stories that maybe sabotaging you.

This is a fast-paced energy that allows your ways of thinking to change and welcome new knowledge to come through - A sacred place where your desires and visions can manifest.

If you wish to conjure a desire do your spellcrafting before the Full Moon at 9.16pm If you wish to release that which no longer serves you do your spellcrafting after the Full Moon has passed.

[ominous-faechild]

An additional thing about (@ominous-faechild original; do not steal /lhj) runic magic within my writing!

Styluses are essentially the world's early version of wands. They're made to draw runes, but require surfaces to draw on. They always encase—or utilize as the writing utensil—a conduit (an object containing pure magic, ready for use by anyone). After the invention of wands, styluses are often used as "baby's first wand", so to speak.

In other words: styluses become the giant pencil you give a toddler budding wizard for them to begin to learn runic.

For perhaps predictable reasons, artists are often recruited as wizards. Dyscalculia and dyslexia (although not named in-universe) are known to be a particular struggle for budding wizards, however.

Hugo “Cricket” Tinoco from Waves of Misfortune is an example of both. He was sponsored by the Minoguan government to join a runic academy thanks to being a skilled artist, but was eventually forced to drop out due to struggles “recreating” the runes.

(He's got some combination of the two.)

Wands aren't too dissimilar from the tool in Marvel's Doctor Strange that allows them to write in midair. They often resemble the stereotypical image of a wand, and serve as what's essentially a magic pencil that can write in midair.

However, twist: oftentimes, wizards will etch their most-commonly-used spells spells into the sides of their wands. With that, they can then later filter magic through those runes and quickly, easily, and frequently re-use their preferred spells.

Similarly, many more advanced wizards carry around staves—which are essentially larger wands—with larger conduit cores and many, many, many more runic sigils littered across their casing.

While this may seem to (and does, in fact) simplify the art of spellcrafting, there is a risk to relying on previously-etched runes: the caster has to remember where they've put each, or learn to distinguish between them by feel.

Considering the fact that they're often etched as small as possible both to fit more and to keep a possible enemy from seeing what spells you have at the ready... it is very dangerous, indeed, to rely on pre-etched spells. The practice is highly advised against except for master practitioners with several years of experience... and practice.

"Getting a new wand" is also highly frowned upon in this case, because if the caster fails to put their runes in the exact same spots...

Well.

Some "problems" can emerge.

(unlike last time, i've got this pretty solidified in my mind. i just wanted to share because, again, i thought y'all'd find this cool)

[olderthannetfic]

Any way you could recommend some sort of intro guide to fantasy for dummies to me?

I'd like to have a couple of magic related elements in my fics sometimes, but I'd like to sort of, sidestep the world building part if possible.

So is there some kind of bare bones universal structure I could borrow from as a reference point for like, a magic system? I don't want to embarrass myself by showing i know so little of the rules I'm breaking them all over the place. And I know tons of people have fun figuring out how things work mechanically, so I'd love being able to outsource from them so to speak because that's not what up my street at all.

--

Hah! There are so many versions of "fantasy". Right now, I'm brainstorming for a very elaborate secondary world fantasy that's heavily inspired by wuxia but not claiming to actually be wuxia. I'm trying to figure out what Western elements I want to work in and how I can come up with names that don't make me cringe.

There is no one bare bones guide and there cannot be because different subgenres have nearly nothing to do with each other. In fact, even calling it collectively "fantasy" and thinking that these subgenres belong in one category together depends on location and era.

If you want to know about magic systems... oh dear... I'm going to have to recommend... you all know it's coming... Brandon Sanderson's lectures. There are some on Youtube.

--

But before you go look at a guide, I think it's important to understand the parameters and discourse around this subject. Sanderson is the poster boy for unnecessarily complex systems that appeal to the kinds of guys who fill out wikis of canon minutia and complain that the grain harvest and export policies don't make sense in derivative fantasy doorstop #57. This kind of fan annoys the bejesus out of people who care about theme and allegory. Also the many people who've noticed that Sanderson's books would probably be better at 200k than 400. >;D

Sanderson himself is much less of a dumbass about the topic, thankfully. He talks about how there are systems that work like real world science: put in X grams of magic thing one and Y grams of magic thing two, and you get a predictable potion result. But there are also systems that are more numinous. In the same book, you may find magic that's your most boring physics homework and magic that's essentially a religious experience where strict categorization and the logic of the laboratory have no place. There can also be systems that are unknowable and systems that your characters don't understand but that the audience grasps are perfectly logical to an expert.

--

If you're using magic as set dressing in fic, decide what the vibe is and pick a system that supports that. Don't bother going full Sanderson.

Fairy tale: Magic works on feels. Twu wuv will revive dead people for no reason, and you do not need to justify anything as long as it feels right. Hanahaki fic rarely bothers to explain the science. We all know it isn't about that.

Harry Potter: Unholy mix of fake-science and rule-of-funny. You should probably pick only one to copy. If it's fake science, just write about the characters half remembering chemistry class and replace all the words with technobabble.

For another example of rule of funny, check out The ABCs of Spellcraft by Jordan Castillo Price, a gay romance series where all of the magic is puns and stupid wordplay and the general tone is extremely silly. In book 1, a villain tells his magically compelled goon to take the hero outside and "pound" him. The hero takes one look at all those muscles and is like "You know, that instruction can be interpreted multiple ways!"

Some systems are full of stupidass levels out of a video game with actual numbers. This gives fans of stories about leveling up a massive boner, but it is undesirable in most fic. Instead, treat magic like intelligence or learned skills: You know some people are naturally smarter and some people have learned more, but measuring it with a precise number is both impossible and obnoxious.

--

Decide if your magic is hereditary or learned. Western fantasy is full of hereditary magic, including magic with a simple on-off setting: you're either magical or you're not. Eastern fantasy tends to go with highly variable natural aptitude but systems that anyone can theoretically learn.

Decide if your magic is extremely literal and science-y, even if the characters don't know how their laptop works, or if it's more of a metaphor for love or social forces or if it's just a witchy aesthetic because who doesn't love a coffee shop with a punny name and pentagrams on the cups?

A lot of backdrops for shippy fic are vibes-based only. They don't stand up to the world building police, and they don't need to.

Just don't tag the fic as 'magical realism' unless you actually know what that means and are actually writing that.

[madgod-of-kvatch]

One of my favorite concepts that I don't see people playing with very often (although I'm sure it's more common than I think, I don't interact directly with the fandom very much) is the Dragonborn making up unique Shouts. We know this is possible—the Tongues created Dragonrend, which isn't something that a true dovah can use because their immortality renders them incapable of fully understanding the feelings in the words.

Headcanon says that Hloda, my Other Dragonborn (the one who doesn't do the destiny thing and isn't responsible for the slaying of Alduin) does this. She was raised in Cyrodiil and has a lot of practice with spellcrafting, so she's used to putting things together to create new effects, and just kind of assumes that the Thu'um works the same way. As a result, she ends up with some Brand New Sentences, which are all kinda hit or miss to start, but become more consistent as she continues to use them and gets a better grasp of the words.

When Hloda makes contact with the Greybeards, they have mixed feelings on what she's been doing, but when she eventually meets Paarthurnax—after Alduin is slain by the Last Dragonborn in Sovngarde—he's delighted. This is the kind of dovah activity that he hasn't gotten to engage in for thousands of years, and he's thrilled to have the opportunity. Because of how Hloda learned to Shout in the first place, her use of Dovahzul is much more natural and less rigid than her counterpart, seeing it as much as a language as she does a power, which makes working with her more like working with a true dovah.

He does have some minor trepidation early on with regard to her use of these Shouts, but it's alleviated over time as he gets to know her, learning about her solitary nature and discovering that she genuinely has no interest in fame, power, or positions of leadership, which sets her apart from true dovah with their inherent drive to dominate. She and Paarthurnax work together to figure out ways to make her Shouts more effective, mixing and matching words and discussing intentions and possibilities to make them as functional as possible with minimal risk of unwanted results.

Putting the final results of their efforts under a cut, because this post is long enough already. It's been really fun working these out.

An incomplete list of Hloda Oreyn's homebrew Shouts:

Dah Gut Lok [Push Far Sky] – Launches the target straight up into the sky. Only works outdoors. Hloda names this one "Springload Opponent."

Gaar Haal Mul [Unleash Hand Strength] – Temporarily activates One Punch Man mode. Only works with unarmed combat, extremely messy, for emergency use only. Paarthurnax calls this "Strike of the Dovah."

Zul Dun Ov [Voice Grace Trust] – Similar to Charm, triggered by spoken words. Essentially a +9999 boost to persuasion. Only works on entities capable of understanding spoken language, and specifically understanding the language used by the one delivering the Shout. They name this one "Silvertongue."

Zul Maar Shaan [Voice Terror Inspire] – Similar to Fear, triggered by spoken words. Essentially a +9999 boost to intimidation. Same limitations as Silvertongue. They name this one "Dragonfear."

Shul Aus Haas [Sun Suffer Health] – Renders target susceptible to sun damage. Ineffective against vampires, which already take damage from the sun, unless they're fully satiated at the time. They name this one "Sunburn."

Ro Su Ru [Balance Air Run] – Sort of like levitation, allows movement across open air as if it's a solid surface. Risky, requiring a certain level of consistent momentum to be effective. Hloda names it "Wind Bridge."

Shaan Las Slen [Inspire Life Flesh] – Revival from mortal injury. Only works within a very short period of the heart stopping, based on term of oxygen loss to the brain. They don't give this one a simple name because it could be pretty dangerous in the wrong hands, so they don't discuss it much after Hloda is sure she's gotten it working.

Yah Tah Zii [Seek Pack Spirit] – Sort of like Summon Ancestor Spirit, but for a longer term and in a more solid capacity. May only work for Dunmer, but hasn't been tested for obvious reasons; for Hloda, this exclusively summons her late uncle Modryn and literally no one can figure out why*. Hloda ends up calling this "Summon Uncle, I guess?" while Paarthurnax calls it "The one that doesn't work right, why is he here again?"

Shul Nah Gaar [Sun Fury Unleash] – This is basically Shout of Enemy Explodes Into Sunfire. Paarthurnax calls it "The Wrath of Akatosh," Hloda calls it "Martin's Final Sermon."

* It works this way because the use of the word "Tah" limits it to family members Hloda has had a personal relationship with, and the only blood relatives she ever knew were her uncle and her mother, the latter of which is still alive. Hloda's justification for the use of "Tah" is that the goal is to bring in someone who is capable of helping to fight, like a member of a wolf pack, and her personal understanding of family structure is heavily influenced by both her Dunmer culture and being all but raised in the Cyrodiil Fighters' Guild; Paarthurnax doesn't really understand concepts of family structure at all himself, since all dragons are children of the same father, so he can't offer the understanding of the word necessary to "fix" the Shout. They should use "Fron" instead, for "kin," which they'll probably figure out eventually.

[deconstructthesoup]

Some various and sundry Aguefort headcanons:

-After Jace gets fired (read: bodied and arrested), everyone kind of has the realization that, oh, hey, not teaching your sorcery students how to use their powers because "sorcery's innate so there's nothing I can teach" is actually hella dangerous and produces sorcerers who can easily lose control over their incredibly volatile powers (there's a reason that there has not been a single Wild Magic sorcerer who's made it to graduation since Jace became the sorcery teacher), and they end up hiring a teacher whose ethos is "you must learn to make yourself the master of your magic, or it will become the master of you." Xir name is Mothwood Khalazza, xe's a drow Aberrant Mind sorcerer, and xe quickly gains a reputation as the most interesting teacher at Aguefort. Mothwood smokes with Eugenia on weekends.

-Since warlocks, sorcerers, and clerics know what their subclass is right from level 1, they are allowed to apply for an MCAT right from the get-go---like, you could enter Aguefort as a level 1 cleric and immediately sign up for fighter classes, that sort of thing. With every other class, you can only apply for an MCAT once you've got your subclass under your belt.

-The debate team is a collection of Eloquence bards, Mastermind rogues, Enchantment wizards, and Knowledge clerics who are encouraged to use their arguments as verbal components of spells, resulting in a debate that is filled with elegantly-delivered spellcraft. Whichever team manages to drop the other team to 0 HP wins the debate.

-Jumping up on that---and inspired by some worldbuilding in my home game, suggested by one of my players---for senior year both at Aguefort and at the several adventuring colleges out there, you have to write a thesis and defend it to your teachers, while you are also engaged in combat with them. The fight ends when one of you is dropped, or when an argument or rebuttal is delivered (followed by a spell or a strike, of course) that the other person can't come up with a response to.

-Druid students and ranger students aren't taught in a classroom, but are instead given lessons entirely in the Far Haven Woods. While druid lessons are way more focused on becoming one with nature, learning how to respect it, and essentially befriending nature in order to work with it, ranger lessons are about surviving in spite of nature, about roughing it in the most dangerous parts of the untouched world, about harnessing beasts to your will. (This is mostly based on my interpretation of the difference between druids and rangers, since it's... very tricky to actually put into words. A new edition's out and rangers still need a serious class update, swear to god.)

-There are actually four bard teachers at Aguefort---Lucilla obviously teaches songwriting and music composition and Terpsichore teaches dance, but there's also a bard teacher who specializes in speech and debate (who heads up the debate team and mock trial, of course), and a bard teacher who specializes in storytelling and gathering knowledge. The speech and debate teacher is, in fact, an actual archfey who used to oversee contracts made between mortals and his kind, met Principal Aguefort, hit it off with him, and decided that teaching sounded way more exciting than endless Feywild bureaucracy. (The storytelling teacher's a human, and they've got a whole goth-academic thing going on.)

-While the theater kids are all very much respected and treasured, it is an unspoken secret that the techies have their own secret society, and every night the actors are performing, the techies not only have to keep the show running, but they have to defeat monsters that are trapped in the auditorium and seek to destroy the beautiful energy that is brought to life during live stage performances. It's universally agreed that being a techie is twice as hard as being an actor, and you have to jump through a lot of hoops before you can become accepted as one of them. (Yes, I did read the Backstagers comics in middle school, what of it?)

[godsandvillains-if]

Hey! Just wondering about the powers, I know Scarlet Witch inspired this IF, or at least the powers. But are we stuck in a more caster-type role? Or can we get more physical? (Just wondering if I can be like my girl Magik 😅)

Hello!! 😊

The MC will primarily have the role of a caster—much like most sorcerers, including Zodiac—channeling magic as their main strength. However, they won’t be limited to spellcraft alone. Versatility in combat is important so the MC will also undergo rigorous training in martial arts, self-defense, and other essential skills a hero needs. 

Thanks for the ask! 😍

[rivensdefenseattorney]

Alfea's Curriculum

(WIP)

Department of Alchemy and Potionology

Beginning Level:

Introduction to Potion Brewing: A foundational course covering basic potion crafting techniques, understanding ingredients, and the fundamental principles of potion making.

Botanical Studies for Alchemists: This class introduces students to enchanted botanical studies, focusing on identifying and understanding the magical properties of plants used in potion-making.

Essentials of Healing Magic: An introduction to healing and restorative magic, emphasizing the ethical use of magic for healing purposes and the basic principles of channeling energy.

Intermediate Level (Prerequisites: Beginning Level Classes):

Intermediate Potion Crafting: Building upon the introductory class, this course explores more complex brewing techniques, potion stability, and the interaction between different ingredients.

Advanced Botanical Studies: Delving deeper into enchanted plants, this class explores rare and powerful botanicals, their cultivation, and their specific applications in potion-making.

Healing Elixirs and Remedies: Focused on practical applications, this class teaches students how to create specific potions and elixirs for various healing purposes, including physical and emotional ailments.

Advanced Level (Prerequisites: Intermediate Level Classes):

Mastery in Potionology: A comprehensive study integrating advanced potion crafting techniques, potion artistry, and experimentation with rare and volatile ingredients.

Enchanted Gardens and Sustainable Magic: This class explores the creation and maintenance of enchanted gardens, emphasizing sustainable practices and the ethical use of magical resources.

Advanced Healing Arts: Mastery-level training in healing magic, focusing on complex healing spells, energy manipulation, and the integration of potions with magical healing.

Overlapping Classes:

Alchemy Lab Practicum: This practical class runs parallel to different levels, allowing hands-on experimentation and application of theoretical knowledge in a controlled environment.

Ethical Practices in Potion Making: An ethics course required at each level, focusing on responsible use of magic, moral considerations in potion making, and the consequences of misuse.

Department of Elemental Arts

Beginning Level:

Introduction to Elemental Arts: A foundational class introducing students to the basics of elemental forces (earth, air, fire, water), their manipulation, and the ethical use of elemental magic.

Defensive Magic Fundamentals: This course covers the basics of defensive spells and shields, teaching students how to protect themselves using elemental magic.

Arcane Foundations: An introductory class exploring basic arcane arts, including rune crafting, spell formulation, and magical incantations.

Intermediate Level (Prerequisites: Beginning Level Classes):

Elemental Control and Channeling: Building upon the basics, this class focuses on honing the control and manipulation of specific elemental forces, teaching students to wield them with precision.

Combat Magic Techniques: This class delves into combat-oriented elemental magic, teaching offensive and defensive combat spells tailored to different elemental affinities.

Advanced Arcane Studies: Expanding upon arcane foundations, this course explores complex spellcraft, advanced rune work, and the creation of personalized spells.

Advanced Level (Prerequisites: Intermediate Level Classes):

Mastery in Elemental Manipulation: A comprehensive study focusing on mastering the fusion and synergy of multiple elemental forces, enabling students to create powerful elemental effects.

Advanced Defensive Tactics: Specialized training in advanced defensive spells and strategies against various magical and physical attacks.

Mystical Combat Mastery: An advanced combat-focused class, teaching students to seamlessly blend elemental forces into offensive spells and maneuvers.

Overlapping Classes:

Elemental Combat Practicum: Practical training sessions running parallel to different levels, allowing students to practice combat techniques under controlled conditions.

Ethics in Elemental Magic: A mandatory ethics course at each level, emphasizing responsible and ethical use of elemental and arcane magic.

Department of Magical Studies

Beginning Level:

Introduction to Magical Studies: A foundational course providing an overview of the magical world, including an introduction to mythical creatures, historical contexts, and the basics of artisanal magic.

Mythical Creature Identification: This class focuses on identifying, studying, and understanding various mythical creatures, their behaviors, habitats, and magical properties.

Historical Foundations of Magic: An introductory class exploring the history and evolution of magic, tracing its origins through ancient civilizations and significant magical events.

Intermediate Level (Prerequisites: Beginning Level Classes):

Advanced Mythical Creature Research: Building upon the basics, this course involves in-depth research projects on specific mythical creatures, their impact on Fae realms, and their cultural significance.

Legends and Lore: An exploration of mythical tales, legends, and folklore, dissecting their symbolic meanings and their influence on magical practices.

Artisanal Magic Techniques: This class focuses on the practical side of artisanal magic, teaching students the creation of magical artifacts, wand-making, and enchanted objects.

Advanced Level (Prerequisites: Intermediate Level Classes):

Mystical Anthropology: A comprehensive study of the relationship between Fae and mythical creatures, exploring their interaction, cultural exchanges, and historical significance.

Advanced Magical Historiography: This course delves into the analysis and interpretation of magical historical texts, deciphering ancient scripts and understanding magical artifacts' historical contexts.

Mastering Artisanal Magic: Advanced training in crafting powerful magical artifacts, imbuing them with specific abilities, and understanding the intricacies of enchanted object creation.

Overlapping Classes:

Mythical Expedition Practicum: Hands-on fieldwork that runs parallel to different levels, allowing students to conduct research on mythical creatures in their natural habitats.

Ethics in Magical Studies: A mandatory ethics course at each level, emphasizing responsible research and ethical practices in dealing with magical creatures and historical artifacts.

Department of Diplomacy and Leadership

Beginning Level:

Foundations of Diplomacy: A foundational course introducing students to the principles and practices of diplomacy, including negotiation techniques, diplomatic etiquette, and conflict resolution basics.

Leadership Essentials: An introductory class covering the fundamentals of effective leadership, emphasizing communication skills, decision-making, and team management.

Cultural Studies and Intercultural Communication: This class explores the diverse cultures within the Fae realms, teaching students how to navigate cultural differences and communicate effectively across different lineages.

Intermediate Level (Prerequisites: Beginning Level Classes):

Advanced Diplomatic Negotiation: Building upon foundational skills, this course delves deeper into negotiation strategies, scenario simulations, and diplomatic problem-solving.

Strategic Leadership: An intermediate-level class focusing on strategic planning, visionary leadership, and fostering innovation within Fae communities.

Diplomatic History and Case Studies: An exploration of historical diplomatic events within the Fae realms, analyzing case studies and learning from past diplomatic successes and failures.

Advanced Level (Prerequisites: Intermediate Level Classes):

Masterclass in Diplomatic Relations: A comprehensive study of diplomatic relations between Fae kingdoms, advanced negotiation techniques, and the art of maintaining alliances.

Leadership in Governance: Advanced training in governance principles, focusing on leadership in politics, law, and decision-making processes within Fae societies.

Crisis Management and Diplomatic Crisis Resolution: Specialized training in handling diplomatic crises, conflict resolution, and mediation techniques in high-stakes situations.

Overlapping Classes:

Diplomatic Simulation Practicum: Practical simulations running parallel to different levels, allowing students to apply their diplomatic and leadership skills in realistic scenarios.

Ethics in Diplomacy and Leadership: A mandatory ethics course at each level, emphasizing ethical leadership, integrity, and responsibility in diplomatic engagements and governance.

Department of Mystic Arts and Expression

Beginning Level:

Introduction to Enchanted Artistry: A foundational course introducing students to magical expressions through visual arts, covering basic techniques and introducing mystical elements into artistic creations.

Fundamentals of Musical Enchantment: An introductory class exploring the fusion of magic with music, teaching basic musical theory and introducing enchantments into compositions.

Introduction to Mystical Movement: This class introduces students to magical dance forms, focusing on basic movements infused with Fae essence.

Magical Drama Basics: Exploring the use of magic in theatrical arts, covering basic acting techniques infused with mystical elements.

Intermediate Level (Prerequisites: Beginning Level Classes):

Advanced Enchanted Artistry Techniques: Building upon foundational skills, this course dives deeper into magical art forms, teaching advanced techniques and experimenting with diverse mystical mediums.

Harmonizing Magic in Music: An intermediate course focusing on refining enchantments in music, exploring composition, and blending different magical elements in musical pieces.

Mastering Mystical Movement: Advancing dance techniques with a deeper understanding of Fae essence, intricate choreography, and the fusion of magic into movement.

Enchanting Theatrical Performances: This class delves further into the use of magic in theater, focusing on advanced stagecraft and mystical storytelling techniques.

Advanced Level (Prerequisites: Intermediate Level Classes):

Artisanal Magic in Visual Arts: Mastery-level training in creating magical artifacts through visual arts, integrating functionality with artistic expression.

Mystical Performance Showcase: A capstone course where students showcase their mastery in their chosen discipline, presenting a culmination of their artistic and magical journey.

Required Classes for All Students

Foundations of Magical Theory: An introductory course covering the fundamental principles of magic, its history, and its significance in the Fae realms.

Ethics in Magic and Society: A course focusing on the ethical use of magic, moral considerations, and the societal impact of magical practices.

Ancient Fae Studies: Exploring the ancient civilizations and cultures of the Fae realms, delving into their traditions, rituals, and historical significance.

Mystical Arts Practicum: A practical course allowing students to experiment with various forms of magical expression, encouraging creativity and practical application of learned theories.

Fae Lore and Legends: An in-depth study of mythical tales, legends, and folklore within the Fae realms, providing cultural context and understanding of significant narratives.

Introduction to Elemental Forces: A foundational class introducing students to the basics of elemental forces (earth, air, fire, water), their symbolism, and their relevance in magic.

History of Diplomatic Relations: An overview of diplomatic events, alliances, and conflicts between Fae kingdoms, providing insights into the dynamics of Fae diplomacy.

Leadership Skills and Team Dynamics: An introductory course focusing on essential leadership qualities, communication skills, and collaborative teamwork within magical communities.

Introduction to Potion Brewing: A foundational course from the Alchemy and Potionology department, introducing students to basic potion crafting techniques, understanding ingredients, and the fundamental principles of potion making.

Mythical Creature Studies: A course exploring the diverse and mystical creatures within the Fae realms, focusing on identification, behavior, habitats, and their significance in Fae lore and culture.

Introduction to Enchanted Artistry: A foundational course introducing students to magical expressions through the arts, covering basic techniques and introducing mystical elements into artistic creations.

__

Only 2 more posts to go and I'll be done with Alfea's section. I wanted to know what classes/study would you follow at Alfea?

[charmfamily]

CORVUS CROSSING: A CHARM FAMILY STORY. CHAPTER I  "BOY, YOU'LL BE A MAN REAL SOON." PART I. Transcript Beneath the Cut.

From "THE EBBEARATH EVENING STANDARD" Sunday Edition; January 26, 2020.

CONTROVERSIAL REALM REUNIFICATION RITUAL DECLARED HISTORIC SUCCESS

By Senior Arcane Reporter Dominic Fyres

Article Photo Caption: The Council of Four Corners in front of the newly recommissioned Ebbearath Institute of Magic. January 26, 2020. Left to Right: High Sage of Mischief Olive Specter, High Sage of Untamed Magic Morgyn Ember, High Sage of Alchemical Magic Simeon Silversweater, and High Sage of Practical Magic Agnes Crumplebottom.

EBBEARATH — "After 800 years of magical advancement, an ever-expanding catalog of history-altering achievements in all Four Disciplines of Arcana, countless hours of spellcrafting and tireless magical workings, and most especially, the dedicated assistance of every member within the Most High Covens, The Council of Four Corners is ecstatic to report that the Realm of Ebbearath is once again whole and fully restored."

On Sunday, January 26, 2020 at 3:58 A.M. Caster Standard Time, the Council of Four Corners in an official press release declared their latest and final attempt at performing the Realm Reunification and Restoration Ritual successful and, at long last, completed. Sources from inside the Ebbearath Institute of Magic who work closely with the High Sages confirm speculative rumors that even for the uppermost echelon of casters that have been bestowed immortality, attempts to perform the Great Reunification Working are so complex and such an intense drain of universal magical resources that the ritual has only ever been performed twice before in recorded history: Once in 1918, and once in the summer of 1346.

 "Apparently," the source that wishes to remain anonymous is quoted as saying, "the third time was the charm — we did it. By the blessing of the Fates, we have a home again."

As the Diaspora Arcana is called to return to Ebbearath to establish a foundational population for the capitol and with celebrations commencing worldwide in the early hours of the morning, few voices have been heard expressing any form of dissent. The Arcane Committee of Magical Ethics however released their own statement informing the public that the ritual had been performed without their blessing, consent, or knowledge. 

"Essentially, the Reunification Working operates by harvesting the negative forces holding the broken pieces of Ebbearath hostage and sending that energy somewhere else," Ethics Committee Chairman Dennis Kim states in a press release. "We have no idea where it's being sent or what the implications of such spellwork really means. For all we know, it may have devastating, potentially cataclysmic, consequences in some parallel realm or universe."

Countering the argument posed by the Ethics Committee, High Sage of Alchemy Simeon Silversweater had this to say in response: "The potential ramifications of forcing Ebbearath's negative energy into other planes of existence is precisely why the Working was performed in stages with lengthy periods of rest in between. We've meted out any potential damage as responsibly as possible — what does Chairman Kim propose? That we allow our realm to remain broken another 800 years just to potentially preserve some universe we don't even live in? He's asking us to sacrifice the good of our realm and drain our magical resources for some hypothetical greater good, which is idiotic."

"What High Sage Silversweater means," High Sage Morgyn Ember clarified in a Babble post, "is that magic itself would inevitably go extinct in as little as half a century and disappear from this realm if we did not act swiftly and decisively to perform the last stage of the ritual. We no longer have the luxury of time that would allow the continual sacrifice of our people and the timeline was unfortunately decided for us."

"The Council of Four Corners are of course in agreement that the Ethics Committee has every right to be skeptical and we remain indebted in gratitude that they continue to provide us with their invaluable insight; but until we know what exactly those ramifications Chairman Kim is worried about are," High Sage Olive Specter added on her own Babble Post, "we will remain cautiously optimistic that this has worked out for the betterment of all. We shall send our most heartfelt sentiments and prayers to denizens of other universes in the meantime."

[magickkate]

Today, let's delve into an important aspect of ethical and responsible witchcraft—understanding and avoiding the use of toxic plants and oils in our magical practices. While the natural world offers a vast array of botanical allies for spellcraft and healing, not all plants are safe for human, animal, or environmental health. Join me as we explore the importance of ethical considerations when choosing botanical ingredients and oils for our magical work.

Understanding Toxicity: Ethical and Practical Considerations

Health Hazards:

Human Safety: Some plants contain toxic compounds that can cause skin irritation, allergic reactions, or serious health issues if ingested or absorbed through the skin. It's crucial to prioritize safety when selecting botanical ingredients for spells or rituals.

Environmental Impact:

Ecological Responsibility: Using plants that are endangered or harvested unsustainably contributes to environmental degradation and threatens biodiversity. Responsible witches strive to protect and preserve natural habitats and species.

Plants and Oils to Avoid

Poisonous Plants:

Belladonna (Deadly Nightshade): Known for its toxic berries, belladonna can cause severe poisoning and even death if ingested. Mandrake: While mythologically potent, mandrake roots contain toxic alkaloids that pose risks if mishandled or ingested. Foxglove: Recognized for its beautiful flowers, foxglove contains cardiac glycosides that are poisonous to humans and animals.

Allergenic Oils:

Cinnamon Oil: Highly concentrated cinnamon oil can cause skin irritation or allergic reactions in sensitive individuals. Nutmeg Oil: Ingesting large amounts of nutmeg oil can lead to nausea, dizziness, and other health complications.

Ethical Guidelines for Responsible Witchcraft

Research and Education:

Botanical Knowledge: Educate yourself about the properties and potential risks of plants and oils before incorporating them into your magical practice. Alternative Options: Explore safe, ethical alternatives that align with your intentions and respect the well-being of all living beings.

Sustainable Practices:

Harvesting Practices: If gathering plants from nature, do so responsibly and ethically, ensuring you're not depleting wild populations or disrupting ecosystems. Cultivation: Consider cultivating your own herbs and plants in a sustainable manner, promoting biodiversity and ecological balance.

Choosing Ethical and Safe Alternatives

Herbal Allies:

Lavender: Calming and protective, lavender is safe for various magical uses and promotes relaxation. Rosemary: Known for purification and clarity, rosemary is versatile and safe when used appropriately. Chamomile: Soothing and gentle, chamomile is ideal for spells involving peace, sleep, and healing.

Essential Oils:

Lemon: Uplifting and cleansing, lemon essential oil is safe for aromatherapy and spiritual purification rituals. Frankincense: Sacred and grounding, frankincense essential oil is valued for meditation and spiritual connection.

Final Thoughts:

As practitioners of witchcraft, we have a responsibility to honor the Earth, protect its inhabitants, and practice magic with integrity and mindfulness. By avoiding toxic plants and oils, we uphold ethical principles and promote a harmonious relationship with nature and the spiritual realms.

[lanternlight-foxkit]

@eternalera

I don't actually have all of the characters in this AU properly fleshed out yet, so a lot of them don't have assigned magic/powers yet. of those that do, I have a few with magic/powers that I think are very cool and deserve recognition. so, obviously, I'm going to yap about all of them ^-^

(not in any particular order)

firstly, we have Ro with his soul magic, specifically specializing in the sentient soul aspect of it. he does nefarious things with this magic, including manipulation, both subtle and unsubtle :D

second up, RAT who is a spellcrafter (essentially a mage who does technical magic like enchantments + crafting magic items, kinda like dnd artificers but. yk. magic) and a blood mage. (quick tangent on blood magic: it's powerful but dangerous to the caster, as it corrupts the user and can is addictive)

betcha didn't expect to see RAT here lol

i'm full of surprises ^-^

anyways! the fun thing about blood mages is that they can drink the blood of others (who have magic, ideally) to steal a bit of their magic + energy, which can act as a pick-me-up. drinking the blood of another can also create a bond that allows the blood mage to keep track of the victim :D (it can be mutual, but the process is a little different. also different traditional uses lol)

(yes. yes I did essentially make RAT a vampire. what else did you expect from me /lh)

uhh third cool magic person and second csmp member: diansu who is basically a human spellcrafter (specifically technopath) and somehow integrated himself with a buncha tech, technically making him a cyborg AI thing? idk tbh I just think it's cool (in a magic-based AU, no less)

um. that's it for the amount of worldbuilding I've got rn, I think (like seriously I have like 2 nearly empty sheets full of characters I have not developed yet bc it's not really necessary rn this is kinda ridiculous). drop an ask in like 6 months/after i've started posting a longfic on this au asking me abt the characters with my fav magic/powers and I'll almost definitely have extra answers /hj

(honorable mention: literally any csmp member their magic is mutated so they're so interesting lol)

[wayward-engineer]

🌻🌻

I'm a big fantasy and DnD nerd, so I have a Great Many thoughts about how magic could be seen in-universe as a field of science, how that would be approached/constructed from a world building perspective and how that can be used as a tool in fiction, whether that be allowing a character to manipulate known laws to provide innovative solutions, or by leaving large gaps in knowledge that is occupied by The Unknowable.

Now, I have never really read up on how the magic system actually works in DnD, but we homebrew most of our own stories so, whatever.

The short of it is that, where reality is made up of four perceptible dimensions: length, width, height and time, a fifth dimension would be conscious thought. (Not getting into string theory and its 10 dimensions. I am only tangentially aware of it.) Essentially, thoughts can will an actual perceptible change in the world. The study and manipulation of this phenomenon is called Magic, and the process by which it is used is known as spellcraft. This also has large implications on the perception and reality of godhood.

This is already a lot of text, but if there is any interest in loose flakes of world building and a crackpot science-adjacent magic system, then I could go a lot more in-depth on My Thoughts.

(ask game, send a 🌻 and I tell you whatever. I apologize for this insanity.)

[drowsylock]

WORLDBUILDING WEDNESDAY

Zzzz... zzz... *yawn* Oh I'm sorry I didn't see you come in, what was it that I wanted to talk to you about? Oh yeah, it's--

And you know what that means folks, it's time to work on another segment of TTRPG space which can give you and your party an instant upgrade through worldbuilding. Today we're going to talk about something very near and dear to my heart, and one of the *BEST* stylistic choices D&D specifically gives their players (and GMs) to create lore, tension, drive, and the easiest way to foster a roleplaying dynamic for new players, we are of course going to be talking about Warlock Patrons.

Okay- okay- that's enough, don't make me shoo you all away with the broom again... You guys wouldn't believe how hard it is to get those guys out of here, like Cthulhu, much like myself, is always asleep, but he's larger than a small country, how do you even get a eldritch deity to go back to sleep, huh?

Now obviously if you've ever played D&D you've most likely played a warlock, I say this because I mean- look at them, actually look at them. Yeah, they're pretty sexy, and of all the spellcaster classes, it is one of the easiest to start out as. Plus, who doesn't like playing an edgelord from time to time (yes I'm talking to you, young me when you first started playing D&D).

Now one of my favorite mechanics about warlocks is the potential for "soft worldbuilding." Soft worldbuilding in the potential characters who fluctuate around your PC. Of course the biggest option, and who we're talking about today, the Patron, but this can include other warlocks, cultists, otherworldly servants, rival zealots, gods from the same pantheon, etc. etc.

The Patron is unique to the Warlock in that they are, unlike the God of a Cleric, the main influence in your character's choices. Of course there can be devout clerics, where the relationship is more based around the will of a God, and only acts as a figurehead of their chosen deity. But a Cleric at the end of the day can leave their order should they choose to do so. A Warlock is bound by blood and arcana itself to enact their Patron's will until the Patron sees fit to grant them their autonomy, or else everything is ripped away from them.

The Patron's range in DnD 5e is becoming increasingly vast territory including (but not limited to): Archfey, Celestial creatures, Eldritch abominations, Fiends, Genies/Djinn, Eldritch abominations but now underwater, some kind of Shadowfell creature, the Undead, or even... the Undead... again?

You can play something as simple as the Devil--from the bible--to something as unique as... Strahd von Zarovich (are you happy now CoS fans? I finally mentioned him in a post).

But genuinely, no matter what subclass you go with your Patron you as a player, or even as GM with a Warlock PC, have unlocked a chance to Worldbuild and create not only drive for the PC but even your entire party.

A Patron is essentially just someone your PC owes a debt to, this could be due to signing a bargain you didn't understand, them saving your life, them granting you powers, or heck maybe you just ended up being born with a contract attached to you at birth. However it happened, you now owe your life to a being far more powerful than you or anyone around you.

For GMs this gives you a new element to work into your story.

Don't have a BBEG? Problem solved!

You don't know who's puppeting the King of the neighboring nation? Problem solved!

You can't sleep at night even though you're a Half-Elf and you probably don't even need to sleep, so instead you try to work on your spellcraft and instead a traveller in all black clothes arrives in your small apothecary on the outskirts of town, so you wonder "huh... I guess business of any kind is still good business," and thus you help him out, giving him the potions he's looking for, until you notice that what you thought was dried mud caked onto his boots isn't blood...

Uh.... what was my point? Oh yeah... Uhm... The Patron can serve as a narrative antagonist, a fun side character, or even as someone who just moves the plot along.

With this in mind, how can we elevate this already well beloved feature into something that helps worldbuilding for not only the GM but the player as well?

I'm glad you asked, because you have to break it down into a couple of simple starting blocks: 1.) who is your Patron, 2.) why are they your Patron, and 3.) what contract keeps you from leaving their grasp (i.e. what is their end goal with your PC)?

Defining who your Patron is is important.

Without knowing who your patron is you're kinda lost in the dark, I know plenty of players who say "you decide who my patron is GM," and to them I chuckle, bend down to their eye level, and cheerfully say: "NO YOU SILLY HEAD, YOU DECIDE." Patron decision should be made by both the Player and the GM, with more of the weight leaning onto the Player, because ultimately, you should be deciding how you want your character to grow and revolve around the presence of the Patron.

Say you choose Fiend, a perfectly acceptable choice, but you the Player say "I don't care who it is, as long as I get my magic." That instantly tells my brain as a GM there are no real "repercussions" of you being a Warlock, you might as well by a Sorcerer who just gained powers through heritage (nothing against them as a class, but bloodline Sorcerers are the definition of Nepotism).

Your character, at some point in their backstory, became a warlock, you sought it out, sort of like how Pointy Hat defines a Lich, it is not just someone who one day became a Lich, you actively sought out your powers, whether you wanted it or not.

The first step in becoming an "active" warlock (and as a whole, an active player) is choosing that Patron with specificity.

Maybe your Patron is a long dead relative who became an Archfiend through trickery and backstabbing their way through the Nine Hells, now, as they have built up enough power they seek to return to the land of the living.

Maybe your Patron started out as your imaginary friend who you've known since childhood, everyday you and your friend would play dark games around your small town... everyone knew to be wary of you and your supposed friend. As a result of the rumors your well-off family sent you away to learn wizardry in the Kingdom's capital. But there you seemed to flunk out even further. It wasn't until your childhood friend found you in the real world with promises of unimaginable power.

Either way, your Patron should be someone in your character's life, and has now convinced you to become their warlock.

Choosing the why.

In those two prior examples I examined why it's important to choose your Patron, now comes the "why." In both my examples I touched on this a little.

The first example takes the control out of the character's hands, this is what is called a "passive" character, where the story seems to choose the character, rather than the character choosing to become a Warlock. Now this can still be a fun character design, since the Warlock can be actively avoiding their Patron/warlock duties but the party and the GM will eventually have to deal with the fallout of not being an active warlock.

In the second example the character is "active" due to the want of the PC to become more powerful in their arcane studies. Say they were the "golden child" prior to meeting their imaginary friend, they've always been gifted in the ways of magic and have impressed the town elders. By actively signing a contract with their imaginary friend they are wanting to become a warlock and seek out more opportunity for growth.

Either of these options are fine, so long as you give the character something that they are active about. Characters who don't have goals can end up being boring, 1-Dimensional, and shallow.

What would you sell your soul for?

A question asked throughout the ages. What is your soul worth? In the creation of your Patron your PC has accepted that there is someone, of a higher power, that they now serve. It could be for all eternity, it could just be until they finish a quest. Whichever route you choose your character should be active in their need to complete said goals, whether they want to or not.

This gives the PC: agency, side quests from the main plotline, and some sort of antagonist. Note: the Antagonist doesn't necessarily have to be the Patron, the term Antagonist simply implies someone who creates an obstacle for your PC and/or your party.

This gives the GM: a long term villain/aid for the party, a deus ex machina, fun side plots, as well as chances to flesh out parts of the world/campaign you may not have already thought out.

The contract should include what your Warlock's set "timeline" is (whether for a couple years to all of eternity), what is being given up as collateral (i.e. a soul, loved ones, your actual physical form, your mind, etc.), and what they're giving in return (usually just magic, but it doesn't always have to be).

Here are two examples of some contracts drafter up for our previous two "Pact of the Fiend" Warlocks:

Scenario #1:

When you found your mother's chest of things buried deep in the cellar of your ancestral home you hoped it may explain her rather strange disappearance. Yet when all you found was the strange amulet the doubts began creeping back into your mind. Your mind filled with your father's half drunken voice as you began to listen to his outlandish theories. "The daughter of a devil," your mind began to mimic, you hated that he may be right, and in defeat began to turn back to the ancient wooden steps... but not before the smell of brimstone began to fill the air...

From out of the corner of your eye do you see bright red flames erupting from the floorboards, and before you stands what seems like any ordinary many... and yet... perhaps 300 years out of date?

He greets you in a strange tongue, you try to yell for your father to come rescue you, but everything feels eerily quiet. The man assures you that no one else can hear you, except for him. He introduces himself as Rhemann Morsk, your great-great-great-great-great grandfather, and the founder of your family's great lineage. He reveals he was once a petty thief before stealing the throne of a powerful lord, yet even that was not enough for him, and soon Rhemann started studying the occult, and was even able to traverse time and space to the Nine Hells... although with disastrous consequences. Seeing as he was now trapped in the Hells, he sought to use every source of cunning that he used in the mortal world to his advantage. He made his way up the food chain to become an Archfiend, and a powerful one at that.

Now he has been reawakened to the mortal plane, and he plans to use you as his conduit. You beg for him to leave and to use someone else, but he assures you-- only you can be his surrogate for you have his amulet, and whoever so wears it shall be his surrogate on earth. But he comforts you, serve him for all eternity and he will grant you immeasurable power... and perhaps... he will even show you where your long lost mother resides.

Scenario #2:

You've been sitting in your "Conjurations 101" class for what seems like hours. All that fills your mind is that you have to go to your next class, and the next one, and the next one, and the next one. This all feels so... beneath you. At least back in Whiteoak you were considered one of the most powerful spellcasters of your generation. Those rotten Swiftglow twins wouldn't dare mess with you by the time you and Zan were done with them.

Zan, now that's not a name you haven't thought of in a long time. You wondered late into the midnight hours every night of whether Zan was real. But you guessed it hardly mattered any more. You were an adult now, doing real things. Even if they were so incredibly boring.

Days passed by, classes continued, and one day you decided to just skip Conjuration, besides you already knew what they were talking about, something about Hadar's arms? You would investigate the forbidden section of the library whilst your classmates took a nice nap during class. Yet, whilst you walked the narrow corridors of the ancient college you saw something you hadn't seen in nearly 10 years... a familiar young boy, dressed in black, with deep amber eyes. It had to be Zan.

"Hello friend... it has been quite some time..." he seemed to say with a far deeper voice than you remembered.

You chuckles and tried to laugh him off. Yet when you turned the corner there he was again. Zan tries to tell you how hard it was to see you slog the last decade alone, why not invite him into your life again? Why not let him in?

You could have all the power you ever dreamed... and so... so... so much more. All you have to do was to let Zan in.

And just like that, that's Warlock Patrons! I hope you all enjoy it as much as I did writing it. Until... *yawn* until... Zzzz... next... time... ZZzzz... Zzz...

[bright-eyed-sinner]

Witchcraft Ask Game

What drew you to witchcraft?

It’s a funny story that I habitually tell (I may make another post about it later, haha). When I was in high school I was pretty intensely bullied. It was a small school, so most of the people that harassed me were paired up with one of the girls from the ‘popular’ brigade- athletes, cheerleaders, drama queens, etc. I started learning to tell fortunes as a novelty, something to entertain these girls, because I knew that their boyfriends wouldn’t beat on me in front of them. After that, it was a rabbit hole of talismans, sigils, and spellcraft. At some point I ended up telling fortunes professionally, for a shop, where I met the love of my life. I think I got the good end of it.

Do you follow a specific witchcraft tradition, or are you eclectic?

Not a tradition, no; my craft has migrated to be mostly practical and opportunist, with a sprinkling of whatever I understand and can use properly, with a distinct respect for closed traditions; I have been known to wander the campus telling fortunes for college kids, and make charms at times.

Do you believe in the Threefold Law, or karma in witchcraft?

No. Any definition of karma that I have heard has been through the wringer of misrepresentation so many times as to be unrecognizable, and the Threefold law is tripe designed to scare-monger people out of doing baneful magic. I believe that there will be equal consequences for any action, and that anyone with half a brain can run from those consequences, but the wise will know when the risk isn’t worth the gain. 

What advice would you give to someone who feels called to witchcraft but is unsure where to begin?

Misinformation abounds, so don’t accept any unbacked claims. The practice is deeply personal, and should be treated with similar privacy to the rest of your matters. This isn’t a hobby or a LARP, it’s a framework for changing your life. Similarly, other people’s practice will be different and equally deserving of respect, until it infringes on you. 

What tools or items are absolutely essential for your practice?

Essential is a stretch- some form of sortilege, a focus like a wand or crsytal, pen and paper, and access to the outdoors. Comfortably I would also have kitchen supplies, my amulet and scourge, and access to a library. 

Have you ever had a dream or vision that felt prophetic?

Several, but most notably: my father was working on the engine block in his truck. The hood was precariously suspended, and I heard a howl of agony somewhere far-off. I started towards him to stop the hood from falling, only for it to drop seconds later while my father let out that same wail, the hood having crushed the bones of his right hand.

What do you think of Aleister Crowley?

The man was utterly insane. What started out as a well-intended project to help the budding neo-pagan community flourish and release itself from the will of others became nothing more than a demented power trip fueled by megalomania by the end. His early work was excellent, but the man was utterly despicable otherwise.

Do you think witches can create their own deities?

There is a modern Christian saying that appeals to me here- that anything you devote yourself to becomes God. I think this has always been true. I don’t think deities exist without us. 

How do you feel about people worshiping deities from pop culture?

For clout? Iffy. Because they admire a quality associated with that character, and wish to see more of it in themselves? Rock on, little dudes. Worship Miku if it means you feel cute, musical and powerful. Worship fucking Tyrael if it means you understand the cost of true justice. Hell, worship Ragatha if it makes you a better and more empathetic friend. Just don’t forget what gods are for, yeah?

What’s your opinion on the idea that "all magic comes with a cost"?

See question 3, with the added caveat of this: Do you not think that the effort of gathering the herbs, studying the moon phases, writing the sigils, and showing up for the ritual is essentially paying for the magic? 

What’s the weirdest thing that’s ever happened to you during a spell?

I jokingly poured a bit of my ice water on the ground when it was barely starting to rain, and said ‘make it a good one.’ The clouds immediately began to darken, as if to say  ‘challenge accepted’, and the ensuing thunderstorm was the biggest in the valley in nearly three years.

If you could cast one spell right now, what would it be and why?

Probably the sigil I’ve been working on to seek purpose in my life. Feeling directionless lately. 

What’s your belief on the afterlife, and how does it affect your spiritual practices?

I hold the unique idea that we all go to the afterlife that, in the final all-consuming moment of peace or panic before death, we believe we deserve. I try not to do things that reflect poorly on my own moral boundaries as a result.

What’s your opinion on the importance of connecting with the land in witchcraft?

I haven’t noticed it to be necessary, just convenient and more personal overall. 

How do you feel about using magic to influence others?

I don’t like doing it. I don’t think it’s my right to choose. However, I acknowledge that by leaving my spells vague enough, I am still influencing actions that aren’t mine. I think that the best-intended magic will be performed through the right channels, but you should never influence somebody because of selfishness or a belief that you know better than them.

What’s your opinion on hexing or cursing?

Neutral; do it if necessary, but account for bystanders that might be harmed by the broader effects of your magic. 

Do you believe in spiritual psychosis?

Yes, having experienced it myself; I know that people can be driven to actions or beliefs that just don’t hold up to inspection by the errant belief in something deranged. Worse, if they sound convincing enough or have enough influence, they can arrange entire legions of victims ready to defend their cause, and thus the narrative that is harming them, to the death. 

When it was happening to me, I had to stop doing magic and start examining my world more closely. I was lucky enough to have people that helped me through that process. I can only hope the same for anyone else going through it, because it’s scary at times.