#entity fir

[ginnsbaker]

All Of Your Pieces (33 - The Darkhold)

Chapter Summary: Wanda only tilts her head, a faint, hollow smile rising as she asks, almost lightly, “You love me?”

It used to be an exchange that confirms and doesn’t ask. That declares instead of questions. Now, it taunts. It mocks. Especially coming from Wanda’s lips. You don’t even know how it’s possible, but somehow, the hurt you inflict on each other keeps finding new ways to cut deeper than the last.

So instead of the words 'You love me'—once so certain on your tongue—you just nod.

Pairing: Wanda Maximoff x Female Reader Chapter word count: 4.4k+ | Chapter Tags/Warnings: Angst obviously

A/N: In this story, the Darkhold has a voice. It's not simply a book, but an entity. After this update, there's one more chapter that's already been written. After that, who knows when I'll be able to update. Sometimes, life happens. // More author's notes here.

Series Masterlist | Main Masterlist

Several Hours Earlier

You cannot release her back into the world, Wanda.

“Yes, I can,” Wanda mutters, breath fogging the air. “It’s what she wanted. To pay for an old man’s crimes that weren’t hers.” 

She trudges through drifts that reach her knees, snow shaking off fir branches and tapping across leather warmer than skin. She does not know this stretch of forest, only that it leads away from the cabin. Away from you.

Seeing her sons again this morning, even through the warped glass of another universe, felt like punishment. But she didn’t mind. Didn’t mind them being dangled in front of her like bait. She would have them eventually. Pain sharpens purpose. She just needed space. Needed to get away from you, because lately, you’ve been—

You stray from the path again, it tells her. Resolve is a muscle. Exercise it or lose it.

—a wrench in her resolve. That’s what you are.

“I have all the resolve you require,” Wanda lies between her teeth, despite knowing full well the Darkhold can see through anything. Her boot slips on a buried root, yet she keeps moving. “But your conditions keep changing. Make them plain.”

Plain truths have already been offered. The Darkhold beats like a dull heart behind her eyes, pulsing once, and then again. Ever since she realized it could speak without being opened, it hasn’t stopped whispering.

Forgive the woman and you will learn my secrets with your hands tied behind your back. You will know them, but you will never wield them.

Wanda bites the inside of her cheek. “I never mentioned anything about forgiveness.”

Ah, but you keep thinking it, my dear.

“Then I will bury the thought,” she says.

Bury her instead.

Wanda finally comes to a stop. Bargaining for your life didn’t begin and end with saving you the other night. That was only the beginning. The Darkhold has been relentless ever since, whispering, tempting, promising that far greater doors would open if she was willing to cross one final line. If she severs the last thing anchoring her to this world. To her humanity.

The Darkhold keeps reminding her that there’s no victory without sacrifice. And she knows it’s true. Victory over Thanos came at a brutal cost—Tony, Natasha, and countless others who stood at the front lines of that first battle. 

Nothing is won without blood, it seems.

Prison only binds her to you through the eyes of men who covet power, it continues to speak when it grows impatient of her silence. It’s just a physical cage until they need her again to stop you from getting what you desire. Forgiveness binds you through your own heart. She is your chain, whether you’d like to admit it or not. And she is the chain that will tighten the moment you reach for your boys.

Wanda shakes her head, vehemently rejecting the idea. Killing you is a line she will not cross, even if it could bring her boys back in an instant. No matter how tightly she tries to silence the part of her heart that still beats for you, it remains. Ending your life would kill what is left of hers, leaving nothing inside her that could love anyone, least of all the sons she hopes to save.

She steadies her breath. “If you’re truly as powerful as you claim,” she says, closing her eyes against the fear of defying it, “then show me another way. A third path.”

The quiet that follows is thick as sap. It rarely keeps her waiting this long, and Wanda starts to fear it has deemed her unworthy of its secrets. Then, at last, the voice returns, soft and persuasive.

Rewrite her thread. Guide her where your shadow does not fall. Send her to the life she once tried to build, with the woman who loved her after you were gone.

Wanda doesn’t miss the pointed edge beneath the offer. How easily it slips her into the blame. How it frames her absence as the hand that nudged you into someone else’s arms. She knows her vanishing left a hollow space you tried to fill. But the jealousy still burns, sharp and ugly. The way it makes her question if your deception was because you had replaced her? And when that other woman chose her family over you, did it break you so completely that disappearing felt like the only option?

She used to know you. She knew how you’d destroy yourself to pay for things beyond your control, for things you convinced yourself you deserved.

She knows it’s selfish to want to believe that, even though you loved someone else, you never loved them more than you loved her.

So maybe the Darkhold is right. You’re the last thing standing between her and the twins.

“Kia,” Wanda whispers. The name tastes foreign on her lips.

Yes, the Darkhold purrs, delighted now. 

“Can I make that happen cleanly?” Wanda asks, already knowing the answer. She did the impossible in Westview. She made you and the children out of grief and out of nothing. She gave a town new lives. Made the colors literally bleed from reality.

That was a spell driven by pain. This one, the Darkhold assures her, will be driven by intent. By clarity. By sacrifice.

Wanda nods, slowly. “You’ll erase me from her memory.”

From her past, yes. But not from her soul. The resonance will fade in time.

“And what about her memories of… us?”

If you wish, she may remember pieces. It’s taunting her, testing her. It knows she couldn’t bear the thought of her being entirely erased from you. Wanda can now clearly see how weak you make her.

“That won’t be necessary.”

It’s cruel, but she sees no other way to remove you without letting the Darkhold tear you apart, or keep you close without you ruining her plans.

“And the cost?” Wanda asks tightly, already dreading the answer.

The Darkholds hums, and Wanda doesn’t understand why. 

“Will I have to…” She shifts her weight, trying not to fidget, though she knows the book sees her inner conflict. Vulnerability is the price she pays for its power. “Will I have to take a life?”

Not a life, Wanda. Your heart. Surprisingly, its voice isn’t mocking. Not quite. There’s something reverent about it, like a priest admiring a lamb that walks willingly into the flame.

A cold lance slides through her chest. “Clarify.”

To rewrite her fate, to sever her from you fully, it continues, you must place her joy where your love used to live. The spell demands more than distance. It demands surrender. You cannot hold the shape of her in your soul and hope to open the gate.

“So I forget her?”

She forgets you. But you will remember everything.

Being the only one who remembers will be her undoing. One day she may reach for you again, but to her you will be a stranger.

“That’s it? That’s your price?”

Oh, don’t try to bargain with me, little one. I know you far too well. You would sooner take hundreds of lives than let her forget you. This is your curse, Wanda. You’ve tied your happiness, your worth, to one mortal. Choose the pain now, and you will finally know true freedom.

The trees go still around her, as if the forest itself is waiting for her to reject the terms.

She doesn’t.

Later, she will return to the cabin and say nothing. She will place the rewritten thread of your life in your hands like a gift, not a farewell. And when you ask her why, she’ll offer only a fraction of the truth.

Because it was this, or the Darkhold would have demanded your life as payment. 

Because you would never be safe with her again.

—

“Jimmy, I need a favor.”

Thankfully, your phone and personal belongings are still intact. The moment Wanda disappeared into the room at the end of the hall, you called Clint, hoping he’d know something about an ancient magical book. He only grunted, clearly distracted. "Show’s about to start, Y/N, but I’ll send you a contact.”

“Who is this? Where did you get my number?”

You pinch the bridge of your nose, regretting how abruptly you jumped in. “It’s Y/N,” you say, then quickly add, “The real one.”

You are met with a heavy breath, followed by a long silence.

“Agent Woo?” you prod.

“The International Authority flagged your name two weeks ago,” he replies. “Do you realize what answering this call does to my clearance?”

You sigh, thinking of the other problem waiting for you behind bars. “Yeah, Jimmy, I know. But I wouldn’t have risked it if it wasn’t urgent.”

“This better be good.”

“It’s about a book,” you say, wincing at how flimsy that sounds for an urgent call. “Clint mentioned you have access to Stark’s database—the one with S.H.I.E.L.D. archives. I need you to dig up anything you can on this book.”

“Okay,” Jimmy says. “Title?”

“I don’t know the title.” You pause. “Can I just describe it?”

“Go ahead. I’ll try some keywords.”

“It’s old—really old—and gives off…a dark aura. The cover’s metal, edged with rough ridges and strange etchings. In the center, two spirals are stacked vertically, wound tight like springs, locked together by a heavy vertical bar—”

“Got it. Let me run that.”

You wait. A few seconds stretch into a minute, then two.

“Jimmy? You still there?” You can almost sense his hesitation, and for a brief moment, you wonder if he’s actually searching the database, or quietly tracing your call and setting up your capture.

“Still here,” Jimmy answers, voice lower than before. “I’m… cross-referencing.”

“Should I be worried?”

Instead of answering you directly, he says, “Okay. One hit, classified eleven ways. Only codename I can read is ‘Darkhold.’ Everything else is black bars.”

“Give me what you can,” you say.

You hear him take a deep breath before continuing. “Book of Sins, Book of Spells, Book of the Damned. Origin tag: ‘pre-Atlantean, elder-god authorship—entity named Chthon.’ Material stamp says the pages aren’t paper at all, they’re some form of dark-matter substrate.”

You press the phone tighter to your ear. “Capabilities?”

“Every kind of dark magic on record.”

Your fingers go numb, and the phone nearly slips from your hand. How did Wanda even get her hands on this book?

And then you remember the other witch in the middle of Westview’s town square, purple threads wrapped around the same rust-colored tome. Did Wanda pry it out of the witch’s dead drop after the Hex fell? Did she keep it all this time, hidden while she pretended to grieve and heal?

Meanwhile, Jimmy keeps leaking facts you barely hear. “Dream-walking, matter manipulation, necromancy. File says it corrupts user psychology in stages: obsession, moral inversion, catastrophic empathy collapse.”

You shut your eyes. Wanda carried you out of the snow, knelt for hours while you burned with fever. She stitched your flesh, wiped sauce from your cheek like the woman who once teased you for wearing half your breakfast. That softness is still there. You’ve felt it.

It’s not too late.

“Jimmy,” you say slowly, pulling yourself back into the conversation. “Is there anything in there... about how to resist its influence?”

“No,” he answers. “It’s... honestly, it’s pretty tragic. Do you want me to—”

“It’s fine,” you cut in. “I think I have what I need.”

Jimmy doesn’t hang up, nor does he sign off with his usual sarcastic flourish. Instead:

“…Y/N, why are you asking about this book?”

“It just—rang a bell,” you say, too quickly.

“Rang a bell,” Jimmy repeats. “Come on. Does this tie back to Maximoff? Because the International Authority has her on its red list right now—”

“I haven’t seen Wanda since Westview,” you lie, pitching your voice flat. “I’m still tracking her. But I think I saw this book in an underground market upstate. Figured if it’s related, I should know what I’m looking at.”

There’s a long exhale on the other end. “Y/N, if you’re covering for her—”

“I’m not.”

Jimmy still sounds unconvinced, but he softens. “Okay. Okay. I’ll keep it between us. But listen to me. If you find her you call me. Or Monica. Or even Darcy. Don’t try to handle it yourself. You might even work out a plea deal in exchange for her. They think she’s dangerous, Y/N. I’ve vouched for that.”

Your fingers tighten around the phone. If what Jimmy just told you about the Darkhold is true, they won’t be met with mercy if they go after Wanda. For their sake, you lie.

“I will. Thanks, Jimmy.”

“Are you sure you’re okay?”

“I’m fine,” you say, already ending the call.

—

You can’t sleep that night, tossing and turning in the small single bed that still carries the faint scent of dried blood, your mind tangled around Wanda’s offer.

You’re not tempted. Not even a little. You’ve loved Kia enough to know she won’t ever be whole without her family. And you’ve loved Wanda enough to know she isn’t offering this choice for her own happiness.

You sit up slowly, hands raking through your hair. The cabin is silent, save for the creak of beams settling and the wind scratching across the windows. Wanda’s door is shut. You have no idea if she’s sleeping, if she ever does.

You stare at the wooden floor until your eyes burn. Seven days. Decide or be decided for. Seven days.

You try to break the problem into pieces. How did she even craft that offer­—if it was her at all? Your thoughts spiral back to what Jimmy shared about the Darkhold. The whole thing reeks of it. Wanda says she’s being reasonable, but you saw how her hands shook after she set the terms.

You shiver, but not from the cold, but from the thought that it’s been whispering to her every night. What lies has it told her? What costly promises?

You get out of bed.

The cabin groans as you move. You grab your coat from where it hangs by the door, quietly assembling what little gear you have left: flashlight, water bottle, emergency flare, a beat-up satellite phone with one bar of signal on a good day. You pack them quickly, hands trembling as you shove them into your bag.

You don’t want to fight her. You just want her back. And if there’s even a chance that she’s still in there, you’ll find a way to free her. Even if you have to crawl through every inch of hell to do it. 

There’s only one person you can think of who might understand how. 

Stephen Strange.

The Sorcerer Supreme. Or at least, he was. Witches, sorcerers—they were practically the same thing, right? You regret not listening more during Banner’s monthly post-mission lore lectures. You wish you had taken notes.

Maybe Strange has dealt with this kind of magic before. You can’t think of anyone better to handle the Darkhold.

You take one last look at the door to Wanda’s room. Then you open the front door and step outside.

It’s freezing. The air immediately bites at your lungs the moment you breathe it in. You tighten your coat and keep your head down. You don’t know what danger waits beyond Wanda’s cabin, only that it can’t possibly compare to what’s festering inside if you don’t stop the Darkhold from hollowing her out.

There’s no light but a new moon, partially obscured behind a crush of midnight clouds. Still, the path ahead looks clear enough to get you out of the woods. You don’t expect this escape to be easy, but you’ve always been light on your feet, trained to slip through anything like a shadow. This part should be a cakewalk.

Except, it isn’t, when two hundred meters from the cabin’s porch, you walk straight into a wall of invisible energy.

It hits you like a freight train.

You crash to the ground, elbows scraping bark and dirt. Static shoots up your arms. Your jaw is clenched so hard it’s grinding bone. What the fuck. You roll over, push yourself up, dizzy, breath ragged. You reach out again, slow, careful this time. The air sizzles as your fingertips approach, giving you its warning. You snatch a branch, swing it forward. The tip snaps clean off the second it touches the edge.

You grab another branch and head east, swinging it through the air and getting the same result. To confirm your suspicion, you turn and do the same in the opposite direction, and once again the wood slices cleanly at the barrier’s edge.

The enclosure is a perfect dome wrapped around the cabin, seamless and absolute.

“Fuck,” you hiss under your breath.

A thin veil of steam curls from your lips as you exhale slowly and study the invisible wall. It’s not a simple fence. It’s enchanted, but with clear instructions. Anything without the right signature meets a guillotine edge, yet Wanda has keyed the rune to treat you differently. You are shoved back inside the line, contained but not harmed in any critical way.

The spell recognizes you, labels you, and spares you. Yet the implication is that Wanda expects your flight and has already decided how far you will go—exactly ten meters short of freedom. Rising slowly, you circle the clearing once more, tracing the dome’s curve with narrowed eyes.

The thing is, you’re not easily spooked by supernatural impediments, and you’re more than ready to find out just how far Wanda’s spell is willing to go if you force your way through it. You hike back a few steps, plant your feet, and before you can second-guess yourself, ram both palms against the unseen surface. 

The impact sends a blinding bolt of pain lancing up your arms, as if your nerves have been lit on fire from the inside. A scream tears out of you—hoarse, involuntary. Your knees nearly give out. But your determination drowns out the excruciating pain coursing through your body right now. 

You shut your eyes and push forward with everything you have. No, the spell won’t slice you in half, but Wanda clearly didn’t account for your stubbornness—or the surge of strength you’ve somehow held onto. The spell, confused by your refusal to yield, lashes out with a jolt that courses through you like electricity.

You let out another scream. 

Almost instantly you hear bare feet pounding on the wooden porch, and the cabin door swings open with a heavy thud. Wanda rushes out barefoot, her hair loose around her shoulders, wearing nothing but a worn cotton shirt and a pair of faded pajamas. The fabric clings to her in the cold, but she doesn’t seem to feel it. 

Her look is a far cry from the imposing figure you’ve grown used to since you woke up. Instead, she resembles the Wanda Maximoff you went to bed with every night for over a year. The Wanda Maximoff you lost in the snap.

Before you can make your move, she lifts a single hand in a gesture so swift it barely registers, and a violent force seizes you at the ribs. Your world tilts as you are yanked backward with the strength of a snapped cable, hurtling through the air until your back hits the ground. The only tradeoff is that the electric shock finally stops coursing through you.

When your vision clears, Wanda is standing over you, her shirt rippling in the wind, fists clenched at her sides. You blink away the stars behind your eyelids and drag in a shaky breath.

“What the hell were you thinking?” she hisses. “Do you have any idea how dangerous that was?”

Her fury is meant to scald, yet a deep, involuntary laugh rolls out of you, catching her completely off guard. 

She crosses her arms, obviously annoyed, which only makes it worse and you can’t help but laugh harder.

“Stop it,” she says. “You could have been killed.”

So far, it’s only Wanda’s voice you hear. If the Darkhold is quiet—sleeping, maybe—you’re going to take full advantage of it while you still can.

You wipe your eyes, getting up and dusting yourself as if the whole thing were overblown. 

“Killed by a fence you built to keep me here? That’s rich, Wanda.”

Wanda seethes, and you watch with no small amount of satisfaction.

“I built it because I knew you’d run the first chance you got,” she says. “And evidently, you did not disappoint this time.”

Naturally, every retort from her would be this sharp, this merciless. You’ve never expected anything less from Wanda.

“Did you also know you’d come running after me?” you ask, unable to stop the slight tug at your lips. “That you’d stop me from getting hurt?”

“You could’ve let me pass out at the edge of your little dome,” you go on, “could’ve let me tear my own tendons trying to push through it. But you didn’t.”

“Don’t mistake that for forgiveness,” she says quietly. “Or trust. I didn’t do it for you.”

“No,” you reply. “You did it for yourself. Because if I died out there, you’d have no one left to offer your twisted little fantasy to.”

It might be a little cruel, using what you know about her like this—provoking her, pressing all the right buttons, knowing it gets through in ways kindness sometimes can’t. But Wanda left you no choice. At this point, you’d rather be the one to hurt her, to make her hate you if it means keeping the Darkhold from sinking its claws in any deeper.

You see her eyes glow red for a second. It’s not enough. 

“Why even give me seven days, Wanda? Huh? What’s the point of pretending I have a say in this, when we both know you’re going to force it anyway?”

She turns away slightly, like your honesty makes her uncomfortable. Good.

You shake your head. “It’s not for me, is it?”

This time, Wanda snorts. “You’re wr—”

“It’s about giving yourself time. Time to convince yourself this isn’t what it is. That rewriting my life and erasing someone else’s isn’t… monstrous.”

Monstrous. There, you’ve said it. You’re the one to tell her because you’ve been the monster yourself. And you’re not going to let her down that road. 

“You know whatever the Darkhold’s giving you,” you add, “whatever it promises… the price is always higher than the offer.”

A shadow passes over Wanda’s eyes, the only hint you need to know the Darkhold is listening now. She lifts her chin in a proud display of defiance. 

“I gave you a week because you always do this,” she says. “You say one thing, then chase after another. And now you stand there preaching morality like you haven’t spent months pretending you didn’t want me.”

You look at her quizzically, trying to pinpoint what memory she’s referring to. You don’t have to think long because Wanda reveals it to you anyway.

“You think I didn’t see this pattern before? You didn’t want me, Y/N. Not until I was with Vision. Not until someone else looked at me like I was worth loving without the caveats. And even then, you waited. Watched. Like you didn’t know how to want me unless it hurt.”

Your eyes dart up to the sky, ready to deny it but she doesn’t let you.

“You don’t get to do it over, and over, and over again,” Wanda growls, her voice dropping dangerously low. Her eyes shimmer, but not from tears. Those dried up hours ago.

“The Darkhold showed me everything,” she continues, walking closer to you. “I didn’t ask it to. But it did. I saw the way you looked at Kia. I saw the mornings. Your promises to each other. The week I gave you is for you to realize that it’s what you really want before you can reject it on instinct.”

“Kia matters to me,” you confirm without hesitation. “I won’t lie about that. But you were never replaced. Wanting her never erased loving you. It just proved I’m still capable of it.”

The admission settles between you without the effect you hoped for. Wanda only tilts her head, a faint, hollow smile rising as she asks, almost lightly, “You love me?”

It used to be an exchange that confirms and doesn’t ask. That declares instead of questions. Now, it taunts. It mocks. Especially coming from Wanda’s lips. You don’t even know how it’s possible, but somehow, the hurt you inflict on each other keeps finding new ways to cut deeper than the last.

So instead of saying back the words You love me—once so certain on your tongue—you just nod.

You nod, because yes, you still love her. Even if it means nothing to her now.

You love her. And that’s exactly why you’re doing this. Why you’re trying to get out.

“You can’t even say it,” Wanda whispers, taking your lack of words for granted. 

A slow, exhausted smile finds its way onto your lips. Wanda gives you a look, but you offer no explanation. Instead you turn on your heel and face the invisible wall once more.

Before running towards it at full speed. 

“Y/N!” Wanda yells behind you.

You know exactly what’s waiting for you, and the moment your skin hits the perimeter, it feels like an inferno rushing beneath your flesh. You yelp at the pain, but you don’t care. You can think of nothing except the wall and the world beyond it. You drag one foot forward, then another, tears blurring your vision, the taste of metal filling your mouth.

You will not stay here. You will not sit quietly for seven days, waiting for Wanda to make your choices for you.

“Enough!”

But you don’t stop.

You can’t stop. 

You scream through it, louder, forcing yourself forward by sheer will, even as your knees buckle.

“I said enough!” she screams again.

You can’t tell which strikes first: the enclosure’s parting impact or Wanda’s magic. Red light floods your vision, pressure blooming in your skull, throbbing behind your eyes. She is still shouting, but your hearing has already dissolved into static.

Just before everything goes black, you watch the moon slip behind a wall of thick clouds, swallowed whole by the night.

[buddierecs]

sexuality realisation buddie fics

aka sexuality crisis fics. this list has different rated fics, so please look at the rating make sure to kudos/comment on these amazing works :)

the definition of love and all things ineffable by: elvensorceress "In which buck processes his breakup, learns his place in his family, has a huge crisis of sexuality, and finds the truth about love beating in his own heart." word count: 29k rating: teen and up important tags: friends to lovers, mutual pining, getting together, idiots in love, buckley-diaz family, mild sexual content eddie diaz vs the feelings by: elvensorceress "eddie dives into the mysteries of attraction, romantic love, and asexuality because there's a good chance he's fallen in love with his best friend." word count: 63k rating: explicit important tags: friends to lovers, demisexuality, asexuality, angst, fluff, emotional hurt/comfort, slow burn, mutual pining, anal sex, hand jobs courtship behaviours of southern coastal husbros by: mad_lori "buck and eddie decide to become platonic domestic partners and co-parents. they are 100% super normal about it and absolutely nothing is awakened in them, except a mutual annoyance at being referred to as "husbros." word count: 49k rating: explicit important tags: domestic partners, friends to lovers, slow burn, friends with benefits, demisexuality, fluid sexuality, fluff, eventual smut, oral sex help me to help myself by: woodchoc_magnum "in which eddie slowly figures out who he really is in the aftermath of his breakdown." word count: 26k rating: mature important tags: angst, depression, mental breakdown, pining, getting together, team as family, soft!buddie darker days, brighter endings by: farfromstars "a fic on eddie’s recovery after 4x14." word count: 44k rating: teen and up important tags: injury recovery, ptsd, panic attacks, therapy, minor eddie/ana, minor buck/taylor, pining, friends to lovers, getting together let's hear it for the boy by: hattalove "in which eddie attends a self-empowerment group for gbtq men to supplement his therapy, and is empowered to: forgive himself, say "i'm gay" to his own reflection in the mirror, accidentally adopt an adult, make fried rice, and tell his straight best friend that he's in love with him. not necessarily in that order." word count: 56k rating: teen and up important tags: queer themes, self-discovery, friends to lovers, coming out, getting together, queer awakening, pining, gay disaster!eddie diaz tell me about despair by: hattalove "the entity often affectionately referred to as the unrepression fic" word count: 148k rating: mature important tags: character study, angst, ptsd, therapy, communication, queer awakening, friends to lovers remember me, love (when i'm reborn) by: kwills "eddie has a sexuality crisis, and it's nothing like buck described it. it's not freedom. it's hell. but maybe not forever" word count: 12k rating: teen and up important tags: internalised homophobia, catholic guilt, angst, coming out, minor buck/tommy, getting together, feelings realization you still make sense to me by: farfromthstars "eddie is ready for a new relationship – but why does it never feel right? buck has a lot to work through, and doing that comes with a few realizations." word count: 31k rating: mature important tags: asexuality spectrum, therapy, coming out, mutual pining, idiots in love, mild sexual content i bet my hand fits right in your hands by: blob_blob "after they leave texas, buck has a sexuality crisis in TKs dms, and also when eddie asks who he's texting he panics and makes up an entire girlfriend to avoid admitting to eddie that he's having a sexuality crisis" word count: 7.5k rating: teen and up important tags: fluff, light angst, coming out, texting oh, how could i have been so wrong by: prettyboybuckley "buck figures out his sexuality at the age of 30" word count: 7k rating: mature important tags: self-discovery, love confessions, jealous!eddie diaz, first kiss, hand jobs

[muttlyparasitic]

Omg I never posted this here?

Anyway, I saw that lots of people did this on tiktok with their ranfren oc's, so I also joined in!

The reason why Mutten feels every single emotion besides hate, dislike, and neutral for Randal is because all of his actions directly affect her stats bars since he is the current player of her game!

However, as I have explained in the past, Mutten is a buggy system and actually has been breaking and rewriting her programming since Randal actived her, allowing her to have more players, and thats what causes her to glitch out, all that information saved bugs her system out, and it started first when she acknowledged Sebastian.

Since I was asked once before, Mutten is scared of Satoru purely because he is a dream entity/imaginary friend, and unfortunately, at this point in time, Mutten has yet to grow enough free will too be able to imagine. That's why she's scared of him.

Also, I need to develop a reason as to why she's got a rhing fir Luther, I just thought it was cute lol

Also also, I've got some Ratman Robert lore that I need to develop too (≡・x・≡)

[dark-lord-of-awesomeness]

I. Am feeling so many emotions. All of them positive. I. Have a lot of trouble using words when i get emotional. So I am. Not good at talkign or writing rn. But know that i love all of your fics. So much. You are my favorite fic writier. I want to pick you up and cart you arouund like a favorite plushie. I want to put you in my pocket abd take you places. I want to put you in a room in my house and pay you to keep writign. Like. One of those rich people who have personal artists. But fir fanfiction. I am. Clawing the walls. Biting the furniture. I grab you by the shoulders. I shake you like snowglobe. Hrnnng. (positive connotations)

Hrgk. I am. Also not great at emotional conveying of words. Not even just when i'm emotional, just in general. I love your art, and your fics so much. Really helped give me motivation to keep going. When i found you on Tumblr and I followed you I got so embarrassed about it, because your arts so cool and awesome and i love it. I've actually been really tempted to try and start drawing just to try and create some scenes from your fics. I was very much a non entity before writing and you really helped me come out of my shell and engage more.

I'd love to live in your pockets and write fics forever lol :3:3:3

[pop-culture-witchcraft]

Pop Culture Entity Post: Calcifer

🔥.𖥔 ݁ ˖ Media ˖ ݁𖥔.🔥 Studio Ghibli, Diana Wynne Jones

🔥.𖥔 ݁ ˖ Type of Character ˖ ݁𖥔.🔥 Supporting Character

🔥.𖥔 ݁ ˖ Experience Level ˖ ݁𖥔.🔥 Intermediate (more infernal aspects I’d recommend Advanced)

🔥.𖥔 ݁ ˖ Description ˖ ݁𖥔.🔥 Calcifer was formerly a star that had fallen and was going to die, however Howl had saved him and formed a contract with him. Calcifer is the fuel that lets Howl’s moving castle operate. Despite having a contract with Howl, Calcifer doesn’t entirely look out for Howl, as it’s stated if another demon entered the home with malicious intent Calcifer wouldn’t say a word.

🔥.𖥔 ݁ ˖ Domains ˖ ݁𖥔.🔥 🔥 Contracts 🍳 Family 🔥 Fire 🍳 Hearth 🔥 Magic 🍳 Pride 🔥 Trickery 🍳 Willpower

🔥.𖥔 ݁ ˖ Epithets ˖ ݁𖥔.🔥

Great Fire Demon

He Who Sparks Life In The Castle

The Fallen Star

The Raging Flame

🔥.𖥔 ݁ ˖ Things to work with them on ˖ ݁𖥔.🔥 🔥 Being careful and mindful on how (any) contracts work 🍳 Finding your people 🔥 Finding your sense of will 🍳 Fire Magic 🔥 Learning about working with Infernal Beings 🍳 Learning how to be clever 🔥 Learning how to purposefully be tricky for people 🍳 Learning when to swallow your pride 🔥 Taking care of your home/space

🔥.𖥔 ݁ ˖ Associations ˖ ݁𖥔.🔥 ᯓ★ Color: orange, red, black, green ᯓ★ Elements: fire ᯓ★ Tarot Cards: Strength, The Star, The Magician, Knight of Wands, Four of Wands ᯓ★ Food: bacon, eggs ᯓ★ Herbs: basil, black pepper, charcoal, cinnamon, paprika, rosemary, snapdragons, thyme ᯓ★ Animals: lions, phoenix ᯓ★ Crystals: amber, black tourmaline, bumblebee jasper, carnelian, fire agate, garnet, golden calcite, mahogany obsidian ᯓ★ Incense: amber, balsam fir, cinnamon, dragon’s blood, firewood

🔥.𖥔 ݁ ˖ Devotional Acts ˖ ݁𖥔.🔥

basking in warmth/heat, connecting to the element of fire, cooking breakfast, cooking for loved ones, driving, fire magic, looking into how contracts work and are made, making harmless bets & deals with friends/loved ones, messing with your loved ones & friends, practicing magic, purposefully causing harmless trouble for your loved ones, researching on the Infernal, sitting by a bonfire or fire place, spending time with those you love, stargazing, staying warm, taking care of your home, taking care of your vehicle/mode of transportation, taking pride in things you’ve done

[the-library-of-a-r-labaere]

I see you liked the post Joke-Explainer and Susie made of how the trap they shoved me in works.

Here's a fun idea, Mr. "A.R. Labere": Choose a different font for your book series' titles. Cursive in ALL CAPS is damn near unreadable.

I might just erase your novels from the fact that they hurt my eyes alone.

After all, I did the same thing to Mavigne merely because I could, so novels aren't out of my reach.

Don't test me, sweetheart~

- Anna (a.k.a. SCP-2747/The Lady of Thorns/Anafabula)

(p.s. your collection of novels seems rather...familiar. have i erased your work before? i've erased so many works of fiction before, i've honestly started to lose track of which i've already erased...)

꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮A MOBIUS MYSTERY CONTAINING PORTENTS, FRAGMENTS, AND SIGNIFICANT OBJECTS— ALL CONTRIBUTING TO A BAFFLING TANGLE WHICH UNRAVELS ITSELF IN A MOST SATISFACTORY MANNER. AND WHAT IF THEN WE DON’T FIND OUT WHAT ALL OF IT HAS BEEN ABOUT𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓣𝓗⅏؏ ⅏𐆒𝓛𝓘𝓑𝓡𝓐𝓡𝓨 ꩜𝓕 𝓐𖭅𝓡𖭅 ⅏𐆒𝓛𝓐𝓑𝓐⅏؏𝓡⅏؏𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

A.R. LaBaere?’s Labyrinth Of Weird Fiction, Cosmicism, Postmodernism, Dark Fantasy, The Gothic, And Intellectualism? I see you liked the post Joke-Explainer and Susie made of how the trap they shoved me in works.

You know, the case of SCP-2747 appearing was a strange one.

Alterrune

https://www.tumblr.com/alterrune You know, the case of SCP-2747 appearing was a strange one.

You know, the case of SCP-2747 appearing was a strange one.

“You know, the case of SCP-2747 appearing was a strange one. Here is a run down of what happpened in our own timeline! First, a ripper by the name of "Anafabulous” (whom we later found out was the SCP-2747 entity herself making a clever pun) sent us this rip, which I published onto the SiIvaGunner channel soon afterwards: Track 7 - No Sister of Mine

When we played the video file back, it was completely normal aside from the image in the video swapping a few times. However, when uploading it to the channel, things went haywire very quickly. The rip suddenly went to static that was not present in the original file, and as soon as the rip ended once the playback ended, SCP-2747 was released. Luckily, she had to take her time with all the games that SiIvaGunner has ripped, including the fake games that Susie and I had agreed on for the event. As we had already discussed ending the event on a rip of Sam Hogan’s infamously recursive game, we quickly made a rip that would act as a never-ending loop of media that she would be permanently trapped in. I decided to lure SCP-2724 into said rip, and thusly into her own permanent trap. Here’s the rip itself so you can get a good understanding of how it works: Puzzle - game inside a game inside a game inside a game inside a game inside a game inside a game in

Essentially, it’s made up of multiple layers, named after the previous media that she’d destroyed in the past. First is the “No Sister Of Mine” layer. This layer is a perfect copy of the Haltmann Works Company Internal Database Portal, which features two files, one of No Sister Of Mine, and the other of The Scoliopendra Wiki, which you have no choice but to click. That leads us to the “Scoliopendra” layer, which features a tablet displaying Dr. Andonuts leaving (based off the actions of the previous layer). It’s a tiny room bathed in a sickly green light that only has a drawer, the tablet, and a bed in it, which, once the drawer is opened (revealing Radiohead’s “I/O” album), jumps to the next layer. The next layer is the “A Stroll Through The Library” layer. It features the subject suddenly holding a piece of paper containing a story based off the actions taken in the previous layer. The goal is to find a book that has the title of “Mavigne, Or: A Treatise On The Metaphysics Of Inner Space Travel, And The Kingdom Of Erikaar, Whose Name Is Darkness Made Light, And Further Theological Expositions Thereof”. Yes, the title is indeed that long. As soon as the book is spotted by the subject, it leads to the next layer. That layer would be the “ex lax” layer. After seeing a screen that says “But they could not understand a title that did not exist.” and clicking “Turn back”, they find themselves in a Twine library that has two visual novels: “A Stroll Through The Library” (which is how the previous layer got it’s name), with NaN passages, and “ex lax”, with 343 passages. The moment they click on “ex lax”, however, they’re treated to the final  layer. The last layer is the “Anafabula” layer. It is a layer that has the subject in a single room with only a desktop and a laptop that displays the previous layer in a video editing software open on it, with no doors or windows in the room. The subject gets sucked into the laptop, and after a chime sound plays, the subject is put back into the “No Sister Of Mine” layer as if nothing happened. This entire process is repeated infinitely. It was specifically made to trap her in her own never-ending prison. And we pulled it off beautifully. She will not be harming any more pieces of media anymore. And she especially won’t be harming my girlfriend anymore. #altering the outcome #ask susie haltmann #ask joke explainer 7000 #re:kmrg #regarding: kyle micheal ryan gibbons #re:kmrg bonus files #susie haltmann #susanna patrya haltmann #joke explainer 7000 #lesbian #scp 2747" ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮A MOBIUS MYSTERY CONTAINING PORTENTS, FRAGMENTS, AND SIGNIFICANT OBJECTS— ALL CONTRIBUTING TO A BAFFLING TANGLE WHICH UNRAVELS ITSELF IN A MOST SATISFACTORY MANNER. AND WHAT IF THEN WE DON’T FIND OUT WHAT ALL OF IT HAS BEEN ABOUT𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

Alterrune

I see you liked the post Joke-Explainer and Susie made of how the trap they shoved me in works.

"alterrune asked: I see you liked the post Joke-Explainer and Susie made of how the trap they shoved me in works. Here's a fun idea, Mr. "A.R. Labere": Choose a different font for your book series' titles. Cursive in ALL CAPS is damn near unreadable. I might just erase your novels from the fact that they hurt my eyes alone. After all, I did the same thing to Mavigne merely because I could, so novels aren't out of my reach. Don't test me, sweetheart~ - Anna (a.k.a. SCP-2747/The Lady of Thorns/Anafabula) (p.s. your collection of novels seems rather...familiar. have i erased your work before? i've erased so many works of fiction before, i've honestly started to lose track of which i've already erased...)" ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮A MOBIUS MYSTERYCONTAINING PORTENTS, FRAGMENTS,AND SIGNIFICANT OBJECTS—ALL CONTRIBUTING TO A BAFFLINGTANGLE WHICH UNRAVELS ITSELFIN A MOST SATISFACTORY MANNER.AND WHAT IF THEN WE DON’T FIND OUTWHAT ALL OF IT HAS BEEN ABOUT𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི Alterrune

꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི A MOMENT WITH THE ALTERNARUNE AGENTS

A MOMENT WITH THE ALTERNARUNE AGENTS

https://www.tumblr.com/alterrune/789624687396339712/a-moment-with-the-alternarune-agents ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

A MOMENT WITH THE ALTERNARUNE AGENTS

https://the-library-of-a-r-labaere.tumblr.com/post/789904585412214784/a-moment-with-the-alternarune-agents-the

"A MOMENT WITH THE ALTERNARUNE AGENTS (The formatting of this post is heavily inspired by @the-refreshed-nss' blog posts. Go check them out. I wanted to do a post in that same style for a while, and I finally found a way to do it.) -🚀🎱👨‍✈️🎭-

Huh. I wonder where JE and Susie went. After that @the-library-of-a-r-labaere guy reblogged the post they made about Anna's trap, they left very quickly, saying they needed to do something in the digital void Susie was trapped in, and that they'd be back by "the afternoon of July 21st", which is just a fuckin' fancy way of saying "tommorow afternoon". Regardless, I wonder what that "something" is? Maybe they need to retrap Anna or something. You know how slippery she is. She basically managed to get Kyle off-guard, and the only way he was saved was by Alter shooting a missile at his face with Kyle's own War Machine suit. Eight. Don't remind me of that. I wanted to cause some chaos, and M.O.S.H.I. ejected me from the suit. Then I was forced to reload each and every round of ammo I spent. You deserved it, to be honest. Hey, guys. Me and Quadrinity found something. Apparently, SiIvaGunner isn't the only "high-quality ripper" out there. We found a song that was ripped by the SiIvaGunner channel, and 3 other simultaniously. And I think each of them could correspond to one of us. Here's who. ----- SiIvaGunner - Trinity

The lyrics added are the original ones. Standard, like myself. I prefer this kind of remix. Especially since I can't physically move without external help. This trusty Alternan crate has served me very well.

-----

TimmyTurnersGrandDad - Eight

Really, Trinity? I get the brainrot cover? Look, Eight, you have to realize that it's less brainrot and more like unfunny memes. You have any idea how many times I've seen inklings and octolings making posts on GooTube, Squidder, Scrollbook and Inkstagram about wooden log-people holding wood clubs, sharks wearing red sneakers, and ballerinas in black dresses with coffee cups for heads? Too damn much. Oh. That. Yeah, it's a good thing the entire Now Or Never Seven blocked those posts from being created in each of their respective areas because of how much it was getting on THEIR nerves. Whatever kind of drugs Italy was on when they made those, they've definitely turned me off from seeing the Leaning Tower of Pisa as of right now. ----- VvvvvaVvvvvvr - Dystopiac

Oh hell yeah. This is my kind of song. Explicit as hell, just like Pearl's #$@%* Dudes Be #$@%* Sleepin' track. You really like that track, don't you? Yeah. It's basically Pearl having a swearfest at her own match team in song form, so I can relate. I actually got it re-published recently with Pearl's help! Went from a collective one thousand copies to a colllective one trillion copies overnight! (sigh…) Why am I not surprised you'd do that…?

----- Myskit - Quadrinity

Is that a Minecraft-themed cover? Heh, not bad. I've always imagined myself just trolling people on there. Just blowing everything up and griefing the hell out of everyone. That is…concerningly believable, Quadrinity. Well, I mean, even before the Memverse incident, I was always a bit of a prankster. I was on Team Chaos during Pearl and Marina's "Splatpocalypse Final Fest" for a good reason, y'know. Yes. I know. And I'm glad it won in the end. If it hadn't, I may not have met Dystopiac.

----- We also did some digging, and found out someone mashed all 4 versions of the song together as well. Really? Lemme guess, they sound like crap, right? Yeah, I dunno if they'd all be synced up. Take a listen for yourself and find out. ----- Bonus - All Four High Quality "Astrogirl - Neighbulanding" Rips Played At The Same Time

…they are all synced up. And it doesn't sound like crap! Told ya so! ----- Yeah, I'm suprised it sounds so good, too. So, uh…guess we just wait for those two to come back now? Yeah. Hopefully they won't take a long time. But, then again, that trap they set up for SCP-2747 was incredibly intricate. I wouldn't be surprised if they have to set it all up again from scratch due to how many moving parts it has. What about Wood Man, though? He was sent there too, right? Eh, it's fine, Trinity. They'll probably just finish him off there. I'm more curious about what'll happen to Anna, to be honest. Yeah, ditto. Hopefully Anna doesn't try anything stupid. -🚀🎱👨‍✈️🎭- (Huge shoutout to Mod Cru5h [@/cru5h-cascades, not pinging them bc I already did yesterday and don't wanna seem annoying] for making such a fun blog to interact with.) #altering the outcome #re:kmrg #regarding: kyle micheal Ryan gibbons #ask the new squidbeak splatoon #alternarune!neo agent 3 (dystopiac) #alternarune!agent 8 (eight) #advisor 3 (trinity) #alternarune!agent 4 (quadrinity) ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮A MOBIUS MYSTERYCONTAINING PORTENTS, FRAGMENTS,AND SIGNIFICANT OBJECTS—ALL CONTRIBUTING TO A BAFFLINGTANGLE WHICH UNRAVELS ITSELFIN A MOST SATISFACTORY MANNER.AND WHAT IF THEN WE DON’T FIND OUTWHAT ALL OF IT HAS BEEN ABOUT𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮A MOBIUS MYSTERYCONTAINING PORTENTS, FRAGMENTS,AND SIGNIFICANT OBJECTS—ALL CONTRIBUTING TO A BAFFLINGTANGLE WHICH UNRAVELS ITSELFIN A MOST SATISFACTORY MANNER.AND WHAT IF THEN WE DON’T FIND OUTWHAT ALL OF IT HAS BEEN ABOUT𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮MAVIGNE, OR: A TREATISE ON THE METAPHYSICS OF INNER SPACE TRAVEL, AND THE KINGDOM OF ERIKAAR, WHOSE NAME IS DARKNESS MADE LIGHT, AND FURTHER THEOLOGICAL EXPOSITIONS THEREOF𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི ꧁ঔৣ ྀི﴿ ྀི𓊇ྀི༻ ྀི﷽ ྀི𓆸 ྀི𑣿ྀིྀ🀥 ྀི𖦹꩜𖡎¿⸮𝓜𝓐𝓥𝓘𝓖𝓝𝓔, 𝓞𝓡: 𝓐 𝓣𝓡𝓔𝓐𝓣𝓘𝓢𝓔 𝓞𝓝 𝓣𝓗𝓔 𝓜𝓔𝓣𝓐𝓟𝓗𝓨𝓢𝓘𝓒𝓢 𝓞𝓕 𝓘𝓝𝓝𝓔𝓡 𝓢𝓟𝓐𝓒𝓔 𝓣𝓡𝓐𝓥𝓔𝓛, 𝓐𝓝𝓓 𝓣𝓗𝓔 𝓚𝓘𝓝𝓖𝓓𝓞𝓜 𝓞𝓕 𝓔𝓡𝓘𝓚𝓐𝓐𝓡, 𝓦𝓗𝓞𝓢𝓔 𝓝𝓐𝓜𝓔 𝓘𝓢 𝓓𝓐𝓡𝓚𝓝𝓔𝓢𝓢 𝓜𝓐𝓓𝓔 𝓛𝓘𝓖𝓗𝓣, 𝓐𝓝𝓓 𝓕𝓤𝓡𝓣𝓗𝓔𝓡 𝓣𝓗𝓔𝓞𝓛𝓞𝓖𝓘𝓒𝓐𝓛 𝓔𝓧𝓟𝓞𝓢𝓘𝓣𝓘𝓞𝓝𝓢 𝓣𝓗𝓔𝓡𝓔𝓞𝓕𖭅ʖ༘̇𖡎꩜𖦹🀥 ྀི𑣿ྀིྀ𓆸 ྀི﷽ ྀི༆𓊆ྀི﴾ঔৣ꧂☄ ྀི

[lime-ether]

I'm curious... What would Ivy and the rest of the group look like in Ukrainian costumes? I've seen several of them and they are just plain GORGEOUS!

Okay , You know how to make me happy.. 💅💅💅💅

DPG IN UKRAINIAN CLOTHES

So When I was drawing them... I wasn't just sitting there mindlessly drawing them in the same embroidered shirts....

So, Below I have written down some of my decisions regarding the costumes, so if anyone is interested...

It may be a little cursed but I tried-

Ivy would rather have a Hutsul style suit. This is a region associated with the Carpathians and Molfarism, the ancient art of magic and healing. Her image has elements that echo the role of the mole: bright colors (red, yellow), a floral wreath on her head with colored ribbons, symbolizing a connection with nature, and embroidered patterns on her clothes, which were often used to protect against evil forces. Her style reflects the power and wisdom associated with molfaroks, who according to legend could control the elements and predict the future. This type of clothing, particularly the upper cloak and neck ornaments, give her a majestic appearance, which may allude to her status as a wise woman or shaman in Ukrainian mythology.

For shi..

The image of Shi Inspired by the clothes of central Ukraine or Poltava, also echoes the image of the Mavka - the spirit of the forest and a natural entity from Ukrainian mythology. Her tenderness, lightness, and clothes convey ephemerality and magic, which is associated with nature, beauty and mystery. Her clothes emphasize the traditional image of mavoks as spirits, which are both beautiful and sometimes strong. Her gaze and general style of dress suggest tenderness and a certain melancholy often associated with these mythical creatures, which can be both benevolent and dangerous.

For Catri is

Catri costume also has the style of the Hutsul region. Hutsul costumes often clear geometric patterns and contrasting colors like black with red or white, for her I chose a poppy wreath.

The poppy is traditionally associated with the memory of the dead, to honor the memory of fallen soldiers or victims of various disasters.

In addition, the poppy symbolizes calm, peace and eternal rest. In folk beliefs, the poppy is also considered a talisman that protects against evil spirits.

For Dravolo

Her image is more suitable for the Transcarpathian region, where folk costumes are distinguished by a large number of colors and multi-layeredness. Transcarpathian costumes often contain green, red and yellow colors combined with embroidery and decorations. Dravolo also holds Trimba Trimbita is a traditional Ukrainian wind musical instrument in the shape of a long wooden horn. It is made of wood, often fir or pine, and can be up to several meters long. Trimbita is used mainly in the mountainous regions of Ukraine, in particular in the Carpathians. This instrument produces a loud, shrill sound and is usually used to announce various events such as holidays, weddings or gatherings. The trimbita is also an important element of Hutsul culture and is often used in folk music, and its sound is associated with nature and the traditional life of mountain regions.

For ali...

His positive, bright nature and voluminous forms of flowers suggest the Poltava region, where costumes are known for their exquisite patterns and delicate colors. The Poltava style of embroidery usually has floral motifs with an emphasis on pink, red and white colors. I also gave him a mask that reminds me of myself... Motanku doll is a traditional Ukrainian folk toy made from natural materials such as straw, threads and cloth. It is a symbol of family comfort, goodness and protection. Motanka usually do not have a face, as it is believed that this allows them to be universal and not be attached to specific features. The patterns on his mask are red diamonds and flowers. Red color in this context is associated with love, passion and protection, rhombuses are associated with charms that protect against negativity.

And Den just in White embroidered shirt ;)

[laurasimonsdaughter]

Do you have any recommendations on good ways to find mythic/folkloric references? My untrained low-knowledge self currently only really uses what I find through search engines. That rarely lets me stumble upon niche sites that collate myths/folklore unless I already know the exact phrasing or name of the story the thing is from. If it helps, currently I'm trying to research banishment/containment devices for evil spirits, demons, etc. The demon sealing jar I've repeatedly come across in media especially intrigues me, though its origin seems to not exist???

I do have a post with my go-to websites for research, but I must admit those are better for finding folktales than specific mythological concepts.

For your specific research question I would advise you to pick a culture and if possible a time period to look into. It will be easier to find niche information if you are searching for something specific, rather than something general.

As for demons being sealed in jars, the concept of an malevolent spirit (as in supernatural entity, not ghost) being trapped in a bottle, jar or other container, is a tolerably widespread motif in folklore. In fact "The Spirit in the Bottle" has it's own tale type: ATU 331. It shows up in Europe from the Middle Ages onward, but while Stith Thompson (the T in ATU) was still uncertain whether it was originally European or Middle Eastern, Hans-Jörg Uther (the U in ATU) considers it to be of Jewish and Arabic origin.

Today the most well-known versions are probably these two:

The Fisherman and the Jinni, one of the stories in One Thousand and One Nights that was already present in its earliest known Arabic versions, from the 14th century. In it a fisherman catches a copper jar, sealed with lead that has the Seal of Solomon/Suleiman pressed into it. He opens it and an ifrit (powerful, malevolent jinn) emerges, who was imprisoned by Solomon. The jinn threatens to kill him, is tricked into going back into the jar, then released in return for pledging to help the fisherman.

The Spirit in the Glass Bottle, collected by the Grimms in Bökendorf, Germany, published in 1815. Here a malevolent spirit called Mercurius is trapped in a glass bottle stuck between the roots of a tree. He is freed by the kind protagonist, tricked into going back into the bottle after threatening to kill him, then freed again in return for a magical gift. How the bottle is able to contain the powerful spirit is not explained. (I grew up with a version of this story where the spirit is not released a second time.)

There are variants on the bottle/jar however, for example:

Virgilius the Sorcerer, a legend-like tale published in The Violet Fairy Book (1901) by Andrew Lang. Presumably written by him (or his wife), inspired by Medieval legends. Here the evil spirit is trapped in a small hole in the floor of a cave closed off with a bolt.

The legend of Paracelsus, a German tale published in English in 1892 in Folk-lore and Legends Germany. Its editor seems to be Charles John Tibbits, but no translators or sources are named. In this story the spirit has been trapped in a fir tree by a magician, which has a small stopper pushed into its trunk, sealed with three crosses.

(These might remind you of the Arthurian Merlin, sorcerer with demonic heritage, being imprisoned in a tree, cave, or stone by Niviane/Nimue/Viviane, first named in the Lancelot-Grail Cycle from the 13th century.)

Now, I prefer to stay in the realm of folktales rather than religious texts, but I will try to briefly explain the Jewish and Islamic foundations for this tale type - the link between King Solomon and controlling demons/jinn - under the cut:

The Tanakh describes King Solomon as the last to rule both Israel and Judah, son and successor to King David. He is considered a Jewish prophet, granted divine wisdom (I Kings 3:12). In the Talmud Solomon is described to have tricked Ashmedai/Asmodeus, the prince of the demons, into helping him to build the first temple. The text mentions a chain and a ring engraved with a sacred name of God, which are used to bind and then control the demon (Gittin 68a-b). (There is a Greek text of uncertain date and origin called The Testament of Solomon that says the ring has the seal of God on it.)

Solomon is considered an important prophet as well as ruler of the Israelites in the Quran, who is told to have had control over the wind and over many jinn (Quran 34:12, 38:36-37). A prevalent interpretation of the text states that this power is linked to Solomon possessing a ring that was given to him by Allah, and temporarily taken away as punishment (38.34 Jalal - Al-Jalalayn).

If you want a more historical, scholarly take on the folklore motif of imprisoning and controlling demons, take a look at this: Allegra Iafrate, ““Il demone nell’ampolla”: Solomon, Virgil, Aeolus, and the Long Metamorphosis of Rain Rituals and Wind-Taming Practices”, Revue de l’histoire des religions, 3 | 2017, 387-425.

I haven't read it in full, but it looks like it might give you some inspiration!

[sailescaithuisce]

Some things The Morrigan told me/confirmed I think you guys would find interesting regarding Irish paganism and history;

- The Tuatha Dé Danann were not “exiled.” They went to Ireland to protect the land.

- The Fomorians were real, and some blood was passed down, but the blood of the Tuatha Dé Danann still runs in descendants today (celts were their “first” or more “direct” descendants)

- The first three events in the book of invasions were additions. It’s not just translated/interpreted to fit Christianity, they just never happened. Only Fir Bolg, Tuatha Dé Danann and Milesians are even kind of accurate.

- She is Macha, Babd, Nemain, etc, but only as a whole. She conforms/shape shifts to what is needed at the time, not separate entities encapsulated by a larger term. She comes to you in the form you need.

There’s a lot more but it’s mostly personal, or too.. controversial (??) for public consumption so I’ll leave it at that for now.

Take this with a grain of salt. Do your research. Educate yourself. Just thought it was cool to get info “from the source” if you will.

(Extra: she said the Loki = God thing is true which made me chuckle, but one can never be sure)

(….although I believe her.)

[walkdreams]

❛❛ she appears in weird shapes and strange forms, now plain to the eye, now shadowy, now shining in the darkness

loosely based on the orphic myths, melinöe is a goddess of ghosts, nightmares & madness. she is known as the formless one for her shapeshifting abilities, the propitiated one by those who pray she does not visit them at night with her train of revengeful ghosts, and also as a crossroads deity, capable of infiltrating any realm so long as the sun is down. she is the second-born daughter of hades & persephone, stolen at birth by echidna at the start of the gigantomachy, and who remains estranged after discovering this.

her domain is in the river of wailing, where she offers an alternative option to the souls who were not given proper burial, endured a violent death, and/or did not have the toll to pay the ferryman. rather than spend the hundred years wandering in the banks of the river styx, they're given the chance to join her retinue in a nightly exodus to haunt in her name. melinöe herself often pays personal visits to the sleeping, invading and manipulating the dreams laid out by morpheus by taking the shape of their worst nightmares.

✧ headcanons ✧ visuals ✧ threads

☁️ . . . VERSES

✧ main : aligned primarily with greek myth canon, but can be applied to various settings & fantasy crossovers. she can be the entity associated with whatever boogeyman or nightmare figure applies. the background here is that melinöe was born formless ( thus difficult to identify ), so echidna stole her away to raise as her own, shaped her into the frightful and formidable deity she is currently, and used her as a force against house hades during the gigantomachy. after discovering that she wasn't echidna's daughter ( default is that hekate unearthed this ), she turned against the gigantes, but remained estranged to house hades all the same. although she offers passage of out hades, the unknown catch is that with each exit out of the underworld, a spirit will lose more of their memory until they become a shade with no sense of identity or purpose apart from serving the phantom queen. ✧ supergiant's hades : canon-divergent. same background here applies until i get through the full playthrough, but this is the primary verse where i will play around with mel being more anti-heroine skewed. she was the one who unleashed kronus, the titan of time ( and her grandfather ) who takes hades hostage. after discovering her true parentage, she begrudgingly agrees to train with hekate and save her father ( as a debt she feels she owes, not out of love ). [alt. adjacent verse] slaying the titan of time ultimately opens up some crossover plots where she's the new time anchor capable of traveling across timelines in the multiverse. ✧ dragon age : my favorite verse for her !! she's the formless one ( aka the last surviving forbidden one after da:i ) which i'm establishing to be a fear demon, and more specifically the nightmare demon in inquisition who commands all demons in alignment with corypheus. she was once a spirit of hope who absorbed the fears of thedas, but over time this corrupted her and turned her into the first fear demon, essentially a mirror of whatever horror plagues the collective. at this time she's a nightmare demon who primarily embodies with the blight because that's the most prevalent existential dread, but being the formless one means she can evolve to encapsulate something else. ✧ sandman / supernatural / comic villain : when morpheus first created the dreaming, he also created a formless dream who was meant to serve as a swiss army knife of sorts, encompassing whatever ideation proved most convenient for his running and expansion of the realm. eventually, melinöe became the first and most dangerous nightmare in morpheus' arsenal, especially after learning dreamers leave empty vessels in the waking world. she'd come to possess a few of these bodies and encountered some ghosts whom she assisted in doing the same. as a result, morpheus was forced to imprison her deep inside his nightmare box to prevent a rift between realms, but after his death and daniel's ascension, she manages to escape through the weakened wards and is now seeking to turn the waking world into her own realm of living nightmares by turning unwary sleepers into possessed shadow monsters.

☁️ . . . DOSSIER

name. melinöe epithets. the formless one, phantom queen, dark-mind, propitiation-minded pronouns. she/they (non-binary, female presenting) age. immortal pantheon. hellenistic polytheism etymology. chthonic goddess sexuality. pansexual alignment. chaotic evil / neutral relations. hades (father), persephone (mother), echidna (false mother), zagreus (brother), makaria (sister), aya akazawa ( sister), hekate (mentor), morpheus (🔪) height. 5'7" build. she will usually present herself as a nebulous shadow with only her eyes as a discernible feature, but her base form is lithe and toned. she has a white phantom forearm (left) that she keeps gloved. it's very bright, the only heavenly thing about her, but it is also translucent and exposes her ethereal skeleton. hair. tar black, floating around chaotically like tentacles. think eris from sinbad. eyes. varies. they could be translucent in the dark, a cloudy grey and rotted, black, yellow like spider guts, or burning pits distinguishing markers. spiders skittering in swarms, dogs barking at night, radio silence, a sudden drop in temperature, a dark face in the back of your eyelids, the sound of mourning cries in another room scents. burning sage, saffron, grave dirt

☁️ . . . ABILITIES / SKILLSET

* shape-shfting. less focused on concrete shapes than obscure and terrifying figures; however, this ability is also very much reflective of her environment and the person she is haunting. if their worst nightmare involves another person, she will embody that shape. * dimensional travel. a very stealthy ghoul! there is nowhere you can hide if it's night and you are sleeping without protection. that's the in miss boogey woman needs to find you. however, she can also travel the axis mundi aka "the crossroads" between realms in the greek pantheon without restrictions and take others through those roads so long as they accompany her throughout. otherwise, they could get stuck in limbo there. (in her alt. sg hades verse she'll ultimately be able to travel the multiverse this way) * possession. again, without protective measures or if someone is frightened enough to slip past the defense of their will, she and/or one of her ghosts can possess them and live within the confines of their mind like a parasite. * combat skills. while stunning or deceiving enemies through visions and torturous encounters is her go-to method, melinöe is also a very capable fighter. you can consider her more of a rogue. she's a dual wielder and her weapons are usually a pair of crescent shaped sickles. * magic phantom arm. allows her to shoot blasts of burning ectoplasm and cast simple entropy spells. it'll usually be gloved which dampens the effect, but when it isn't, and given enough time to boot it, she can nuke something.

☁️ . . . RESTRICTIONS

* sensitivity to sunlight. she is incapable of being in the sun without extensive damage. it won't kill her, but she will be in agony and incapacitated, and hella pissed if she escapes. rooms with bright lights are also very annoying, she'll find a way to shut them off or dim them to scare someone, but also for her own comfort. * protective tokens & practices. salt rings or salt along thresholds will keep her and her ghosts barred from entering a home, but melinöe may still be able to sneak in from a sleeping mind within that home, unless you have protective bells that will stir when she's near and wake them before she's found her way through. protective crystals and sage may also keep her from finding someone or dampen/cleanse her influence, but won't stop her from entering a room. * combat. without her abilities at her disposal, she's more vulnerable to being overcome in combat. she won't be easy to take down, as she is fast and very precise, but in terms of the damage that she can take before being subdued, this is low and her weakest point.

[rats-nest-id-packs]

❄️ ID pack 🐷

With themes of winter fae, pigs, darkcore, and eldritch entities. With roles and aesthetics.

☆ Names: Illyria/Illyrian, Snowdrop, Vhil'krreth, Tenebria/Tenebris, Wil, Noctis, Jostekh, Holly, Nightmare

☆ Pronouns: it/its, fae/faer/faers/faerself, fi/fir/firs/firself, ve/vyr/vyrs/vyrself, x/xs/xself, snow/snows/snowself, wing/wings/wingself, dark/darks/darkself, noir/noirs/noirself, dream/dreams/dreamself, oink/oinks/oinkself, ❄️/❄️s/❄️self, 🐷/🐷s/🐷self, 🌑/🌑s/🌑self, 🦋/🦋s/🦋self, 🌃/🌃s/🌃self

☆ Genders: daroric, piggender, flurrigender, wintertidegender, faegender, eldrifigender, eldritchine, dreameldric, eldritchthing, eldrihorrorpixian, gendershadow

☆ Roles: protector, night fronter, night owl, dream weaver, channel, spiritual headmate, harboringer, storm chaser, tank, artisan, emotional enhancer

☆ Aesthetics: winter, icepunk, holographic, digital winter, fairy glow, fairycore, fairy grunge, mori kei, mythpunk, dark fantasy, ruralcore, fantasY2K

[Brought to you by: Mods Chem and Vinny!]

[thepissprophet]

Motivation for personal improvement and the collective good. Ranting about a Star Trek video

I saw this video:

I don't understand this author's confusion as to who would build spaceships and what possible motivation they have in a post-scarcity world.

I am still really naive sure, but I feel many people would be motivated to contribute to projects like this.

The scientists who would go wild for the opportunity to be on a boat for months on end to study microscopic ocean life without having to be a professor to earn money.

The engineers who love to fix things, make things, and such fir the love of the process, the happiness it brings, the progress and betterment for humanity.

Being able to do job you can do and/or be good at is motivation enough. Contributing to progress/achievement/betterment of society/peers/humanity is motivation enough.

Why does this author mention that surely there need to be some monetary incentive for people to make such contributions?

Why is the ship something only one or a few people want? Why need commisioning? Can't it just be many people, especially those with the skills needed, loved the idea of space travel? Why must people be incentivised by the possibility of being the Captain? Sometimes you just want to contribute to a project that is historic for human advancement. Do all the people who helped make all our space travel today help build rockets purely for the hope they might get to go to space? Or purely for the paycheck?

No. Come on! We choose the jobs we choose (when we can) just just for the paycheck or the status. It can be for the passion.

Maybe I was just raised with a collectivist mindset. But if I don't need to worry about money, if all basic needs and education is provided as need be, I would love to be as educated as I can in my field for the betterment of our society. To bring happiness to people around me. To progress human knowledge. To create art. To engage with more art, the world. Etc etc.

Also, I don't think this author understands what communism is. He says there is still free trade (example of crew trading rations for stuff), private property (example given was state property : Data), and "individual liberty" as the reasons Star Trek isn't communist. What?

Communism is when no private property, social classes, money, state

The trade example is not really monetary based, yes, but Communism doesn't mean you can't trade?? The crew exchanged with each other for what they were willing to sacrifice for what they wanted. He describes this as monetary exchange. Is it though? "Private monetary agreements" via exchange of "replicator rations for goods, services or favours". Sounds like me making an agreement with my neighbour to mow their lawn for a jar or their honey. Is that monetary now?

Private property with example felt more like case of state property. Data being "property of the Federation". I have only watched Star Trek DS9. So I am not clear about Star Trek lore. But my impression is that the Ferderation is kinda like a Bureaucracy, in a sort of State of States entity (kinda like Britain is a country of countries? I want to say like EU, where it's an alliance of many States/Narions/Governments). So... indeed, not communist, because presence of State, and no collective ownership. But not because private property.

Individual liberty is not abolished under communism. I think the author suffers from the generational effects of the red scare. The USSR might have been athiest, but the ideology of communism does not care.

Look, the quickest argument, in my opinion, for why the Federation is not communist is: it is a State.

[nonverbalnaji]

Piltover & Zaun's Noble Houses in my Regency AU - with images!

Something I've been chipping away at is a visual representation of the various houses and such for my fic The Wallflower of Althea and Fir which I've finally finished. Please excuse my awful layout skills aha ^^;;

Images are sourced from the official wikipedia which you can find here: https://wiki.leagueoflegends.com/en-us/ and while many of the family trees are based on canonical families, many of them are either made up or adjusted for use in my story. Below is a write up of the images as well as some commentary.

Piltover & Zaun's Noble Houses

Allie Houses amongst the Noble Houses:

Light Grey/White - Ferros, Salo, Holloran.

Black - Kirraman, Hoskel, Giopara.

Blue - Tariost, Bolbok, Cadwalder.

Green - Arvino, Morichi, Torek.

Red - Medarda, Lymere, Talis.

Dark Green - Lane, Reveck, Young.

Metallic Tiers representing Peerage Levels:

Gold: Duke & Duchess titles.

Silver: Marquess & Marchioness titles.

Bronze: Count/Viscount titles.

Iron: Baron & Baroness titles.

Iron was added post the separation between Piltover & Zaun in order to recognise Zaun's governing families within Piltover's peerage system.

Designation Colour Codes:

Pastel Yellow: Alpha

Pastel Grey Blue: Omega

Pastel Orange: Beta (Alpha)

Pastel Green: Beta (Omega)

For an explanation around why Beta's have further deliniation with a suffix of alpha or omega, see my write up here.

The Family Trees

House Lane

Foreign Noble House | Title: Baron | Colour: Zaunite Green

Head of House: Vander Lane - Beta (Alpha)

Adopted Children:

Viktor Lane - Omega, age 25

Violet Lane - Alpha, age 22

Mylo Lane - Alpha*, age 20

Powder Lane - Omega*, age 19

(*) Indicates characters who have not gone through their first heat/rut yet and are not of age to begin courtships.

Violet and Powder's birth were parents Felicia and Connol. Connol passed away during the rebellion fifteen years prior while Felicia passed away from illness five years prior.

Having been friends for years beforehand, Vander married Felicia to help protect her and her young children (Violet was 7 and Powder was 4).

House Young

Foreign Noble House | Title: Baron | Colour: Zaunite Green

Head of House & Guardian: Benzo Young - Beta (Alpha)

Wyeth Young - Omega and Inna Young - Alpha are presumed deceased after the rebellion fifteen years ago, they are survived by their two children:

Ekko Young - Alpha, age 22

Sky Young - Omega, age 21

Benzo and Vander were close to their parents, and in the wake of successful independence the house was formed to honor the contributions to Zaun by both Wyeth and Inna, as well as securing their children's futures.

House Reveck

Foreign Noble House | Title: Baron | Colour: Zaunite Green

Head of House: Corin Reveck - Alpha

Heir: Orianna Reveck - Omega, age 21

Known as Doctor Reveck, his position as one of the governing entities of Zaun is primarily supported by Renata Glasc.

There are other characters and factions from Zaun that make up the new government of the city state but are not pictured here.

House Talis

Noble House | Title: Count/Countess | Colour: Red

Head of House: Ximena Talis - Beta (Alpha)

Jayce Talis - Alpha, age 24

Claggor Talis - Omega, age 21

House Lymere

Noble House | Title: Marquess | Colour: Red

Head of House: To Be Named

Ezreal Lymere - Alpha, age 22

Brother of the head of house is Cristobal Lymere, the head professor of Piltover Academy.

House Medarda

Noble House | Title: Duke/Duchess | Colour: Red

House Head: Jago Medarda - Alpha

Councilor: Mel Medarda - Beta (Alpha)

Heir: Jae Medarda - Alpha, age 23

Jago married into the Medarda family, taking on their family name to secure the ties associated with their reputation. In exchange, their heir's cousin sits on the council seat.

House Kiramman

Noble House | Title: Duke/Duchess | Colour: Black

Head of House & Councilor: Cassandra Kiramman - Alpha

Heir: Caitlyn Kiramman - Beta (Omega), age 21

House Hoskel

Noble House | Title: Marquess | Colour: Black

Head of House: Torman Hoskel - Alpha

House Giopara

Noble House | Title: Count/Countess | Colour: Black

Head of House: Rosa Giopara - Alpha

Heir: Axel Giopara - Alpha, age 22

House Ferros

Noble House | Title: Duke/Duchess | Colour: White-Grey

Head of House: Albus Ferros - Alpha

Councilor: Camille Ferros - Alpha

Heir: Child of Camille's brother Stevan Ferros

House Salo

Noble House | Title: Marquess | Colour: White-Grey

Head of House: Allira Salo - Beta (Alpha)

House Holloran

Noble House | Title: Count/Countess | Colour: White-Grey

Head of House: Boswell Holloran - Alpha

Heir: Delmie Holloran - Alpha, age 21

House Tariost

Noble House | Title: Duke/Duchess | Colour: Blue

Head of House: Reginald 'Reggie' Tariost - Alpha

Councilor: Shoola Tariost - Alpha

Heir: Aurelie Tariost - Omega, age 21

House Bolbok

Noble House | Title: Marquess | Colour: Blue

Head of House: Irius Bolbok - Alpha

Heir: Fieram Bolbok - Beta (Alpha), age 21

House Cadwalder

Noble House | Title: Count/Countess | Colour: Blue

Head of House: Uberti Cadwalder

House Arvino

Noble House | Title: Duke/Duchess | Colour: Green

Head of House & Councilor: Adalbert Arvino - Alpha

Heir: Sofia Arvino - Omega, age 21

House Morichi

Noble House | Title: Marquess | Colour: Green

Head of House: To Be Named

House Torek

Noble House | Title: Count/Countess | Colour: Green

Head of House: Jolando Torek - Alpha

[askthevoiddwellers]

I too am extremely confused about what's going on with the entitys

'Verse: Let me explain in semi-simple terms for those not in the know.

*hem hem*

When animal evolution started to develop more complex emotions like fear ...that fear coagulated into... something new...and as evolution allowed fir newer forms of fear this something became somethings (plural), the entities, the dread gods, the fears.

First came Terminus, The End, fear of death and doom which all beings will meet and The Hunt the fear of being prey to something bigger and stronger and faster that hides in the shadows.

Then came The Dark, The Corruption and The Slaughter. The fears of darkness and sickness and violence.

Then The Lonely (Fear of being alone), The Eye (Fear of being known), The Stranger (Fear of the uncanny), The Vast (Fear of large spaces and falling), The Buried (Fear of small spaces and suffocation), The Spiral (Fear of insanity), The Desolation (Fear of loss and destruction) and The Web (Fear of being manipulated and not having free will).

Eventually The Flesh, the fear of being pigs for slaughter and the wrongness in your body, and The Extinction, the fear of the apocalypse.

[talonabraxas]

“This is love: to fly toward a secret sky, to cause a hundred veils to fall each moment. First, to let go of life. In the end, to take a step without feet; to regard this world as invisible, and to disregard what appears to be the self. Heart, I said, what a gift it has been to enter this circle of lovers, to see beyond seeing itself, to reach and feel within the breast.” ― Rumi

Sirian Sufi Talon Abraxas

The States of Being

While Being in its highest state is identical with the unknowable Essence, this does not mean that it is totally inaccessible by the human mind. Al-Hindi explains that Being has other states whereby it can be known. These states represent degrees of qualification or definition, referred to as “essential determination” (al-ta’ayyun al-dhâtï), meaning the knowable conditions whereby the divine Essence becomes determined. These states also correspond to the modalities of “universal manifestation” (al-zuhür al-kullï), meaning the knowable conditions whereby the world becomes determined. The hierarchy of these states can be considered from a number of standpoints; however, they are often categorized into seven levels. In al-Tuhfa al-Mursala al-Hindi defines the seven states of Being as follows:

1.Transcendent Unity (al-ahadiyya): the state of “nondetermination” (al-lâta’ayyun), “absoluteness” (al-itlâq) and “pure Essence” (al-dhât al-baht), not meaning “that the limits of absoluteness and negation are affirmative in this state, but that al-wujüd in this state transcends the addition of qualities and attributes, and is too sacred to be defined by any limit, even the limit of absoluteness.” It is the state of the ineffable Essence that “refuses human understanding”; the state of “nonqualified” and “nondetermined” existence that lies beyond human conception. As such, it cannot be the object of any distinctive knowledge, and is, therefore, inaccessible to the human mind.

2.Divine Solitude (al-wahda): the state of “first determination” (al-ta’ayyun al-awwal) that represents God’s knowledge of his Essence, attributes, and all existents (mawjüdât) in their nondifferentiated, indistinctive mode of being. Ontologically, it mediates between al-ahadiyya and al-wahdâniyya and is also referred to as the state of “Muhammadan Reality” (al-haqïqa al-muhammadiyya).

3.Divine Uniqueness (al-wahdâniyya): the state of “second determination” (al-ta’ayyun al-thânï) that represents God’s knowledge of his Essence, attributes, and all existents in their differentiated, distinctive mode of being. It is also referred to as the state of “Human Reality” (al-haqïqa al-insâniyya). The first three states of Being concern Being in the primordial stage, yet, primordiality as well as precedency and succession in the above states must be understood as intellectual and not temporal qualifications.

4.The World of Spirits (‘âlam al-arwâh): the state of simple, abstract cosmic entities, those “in the likeness of which, and in accordance with whose essences, manifestation is fashioned.”

5.The World of Similitude (‘âlam al-mithâl): the state of subtle, composed cosmic entities, those which are not susceptible to division, portioning, separation, or conjunction.

6.The World of Bodies (‘alam al-ajsam): the state of dense, composed cosmic entities, those which are susceptible to division, portioning, separation, and conjunction.

7.Man (al-insan): the last and the sum total of all manifest states, the bodily and the spiritual as well as the states of divine uniqueness and divine solitude.

Viewing the states of Being from different standpoints, there is only one state of nonmanifestation (al-lazuhur), that of Transcendent Unity, and six states of universal manifestation.

The first three represent the states of Being in the Platonic sense, while the other four represent the states of becoming. In terms of the creative process, there are internal and external modes of differentiation. Internally, the second state is the state of first determination, while the third is the state of second determination. The other four states are concerned with external existence.

These states also identify, as al-Hindi puts it, three distinct modalities or “homes” (mawatin) of the world. The first home is in the first determination wherein the world is designated as divine “business” (shu’un), in the sense that the world is God’s own concern: “He creates what he will” (30:54). The expression comes from the Quranic verse “every day he is engaged in a divine business (sha’n)” (55:29). The second home is in the second determination, wherein the world is designated as “immutable essences” (a`yan thabita). The third home is in the “exterior” (al-kharij), in the realm of existence, wherein the world is designated as “external essences” (a`yan kharijiyya).

In terms of al-Ghazali’s analogies, the three mawatin of the world can be compared to the stages of architectural production. The first two modalities, the divine business and immutable essence, correspond to the stages of design (taqdir), wherein the designed object is still contained in an unmanifest mode within the designer’s mind. The architectural drawing, which equates al-Gha-zali’s nuskhat al-`alam, the blueprint of the world, corresponds to the world of spirits, the first state of the external essences (a`yan kharijiyya), which includes both the blueprint and its embodiment. Al-Hindi’s hierarchy of the three homes forms the basis of the following analyses of the process of universal manifestation.

The Primordial Presence

The primordial presence (al-hadra al-qadima), as distinct from the divine presence (al-hadra al-ilahiyya), is the presence of divinity that precedes conceptually all qualifications and determinations, including those of firstness, absoluteness, and unity. It is the presence associated with the first state of Being (al-ahadiyya) from the verse: “Say: He is God, the One (ahad)!” (112:1). Although it has a conceptual presence, this state is characterized by existential absence, as our comprehension of it is based on the denial of all comprehensible definitions and conditions. It is the presence of the Essence that the Sufis compare to the geometrical point.

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I was trying to look around to see if I could find some more information about Père Noël in its pre-Americanized incarnation online, but unfortunately most websites share the misinformation that "Père Noël" only existed from the 50s onward and was a French invention... No. [Note: I know books exist folks, but I precisely wanted to do a web research first]

There is only one website that does not share this idea and does identify Père Noël as a typical French figure that was then overtaken by the American Santa Claus, and the most fascinating thing is that it points out (despite previous sources I shared claiming "Père Noël" was first recorded in literature in the mid-19th century, by people describing their youth around the turn of the 18th-19th century) that Père Noël seems to have existed since the Middle-Ages, with texts referring to "Père Noël" or to "Monseigneur Noël". But it does recognize that the Père Noël traditions really boomed in the 19th century and were associated with the bourgeoisie of the time...

The website in question however is mostly focused on the various local, regional incarnations of the gift-giver - because as with many things in France, this tradition is rather a set of various regional and localized specificities that were ultimately synthetized into one entity.

It reminds that in the Lorraine and Alsace region, the Germanic cultures and German influences make it so that Saint Nicholas and Christkindl are still the main gift-givers. In Lorraine it is Saint Nicolas who is most honored (he is after all the saint patron of Lorraine). Appearing in his bishop outfit that makes him look a lot like Santa Claus (thick white beard, large clothes of red and white), every 6th of December he brings gifts and treats to nice children - while naughty children are confronted by his dreaded companion, Père Fouettard dressed in blacks, who beats up with a stick bad children. Saint Nicolas is also still strongly celebrated in the North of France (aka, what is above the Parisian region, because despite what some foreigners believe, Paris is not part of the North).

While in Alsace it is the Christkindl that still goes strongly, with Hans Trapp as its own Père Fouettard. The website briefly reminds that Christkindl is an avatar/incarnation of the Child-Christ, or Baby Jesus, that ended up being fused with the 23rd of December Saint, Sainte Lucie (Saint Lucia), resulting in this unique Christmas figure appearing as a woman dressed in white with a crown made of fir branches topped by four candles. It also reminds how Christkindl stays a symbol of Protestant end-of-the-year celebrations, as they pushed the Christkindl figure to oppose and replaced the Catholic celebrations of Saint Nicolas. Finally, there is an Alsace-specific legend that claims Hans Trapp actually originated as an Alsacian lord that tyrannized his people - Hans von Trotha, the 15th century lord of Wissembourg.

[Given the Alsace region has a lot of website pages about its traditions I'll place here in brackets informations from other websites:

The Christkindl, also written Christkindel or Chriskindla, is a Christian figure that is supposed to be an embodiment of L'Enfant Jésus, Child Jésus (the name comes from Christ-Kindel ; Christus-Kindlein, Christus als Kind), but definitively was influenced by Saint Lucia, who is very big in Scandinavia. In fact, Saint Lucia and the Christkindl look a lot like each other - female entities dressed in white with a crown of candles... Though the Christkindl can appear both as an adult woman and as a little girl, and also tends to have white veils. People tend to also find in Christkindl remnants of the Germanic goddess Berchta. No need to tell you that the Christkindl is big in all parts of the world influenced by German culture - Germany, Austria, northern Italy, Croatia, Slovenia, Switzerland, Czech Republic, and even some parts of Brazil, the ones where there was strong German imigration.

The Christkindl appeared in the 16th century with the Protestant Reform. Up until this point the day of Saint Nicolas was a very big thing in Alsace - saint-patron of school students, he offered good children mandarines and "manala" (a brioche in shape of a child). But the Protestants did not agree with this (Protestants were known to strongly dislike saints in general), and so they replaced the saint with the Christic figure of Christkindl, while keeping Père Fouettard/Hans Trapp (whose job was to threaten with stern lectures naughty children... or take them in a bag to abandon them in the deep dark woods). The change occured over the 16th century, from 1530-1536 (last mentions of Saint Nicolas in Alsace) to 1570 (first mention of Christkindl, when the Klausemärik was replaced by Christkindelmärk). In fact, Christkindl still has some Saint Nicolas traits - she also goes around with a donkey, named Peckeresel, which carries two bags, one for the treats (mandarines and bredalas), one for the whips. People left hay or carrots for the donkey to eat by the front door. Pastor Johannes Flinner made a strong public attack against saint Nicolas in Strasbourg during the "cultural transition", by pointing out that distributing gifts to all should be the prerogative of the Christ and no one else.

During the 20th century the Christkindl lost popularity in Alsace (jee, I wonder why France would like to bury Germanic traditions in the century of World War II) - but it returned in the traditions from the 1990s onward.

Fascinatingly, despite being supposedly a Christ-figure of an angel, the Christkindl, or White Lady, is also frequently called in alsace, a "fée", a fairy, la fée de Noël, the Christmas fairy. It doesn't help that she sometimes carry around a wand with a star at the tip, that is strikingly reminding of the stereotypical fairy-wand. Another irony of fate - despite the Christkindl being brought over to replace Saint Nicolas, the two currently still coexist in Alsace thanks to people not wanting to abandon the good old bishop. A third fun fact: originally the Christkindl could be played as much by women as by men, due to being a truly androgynous entity. From the 16th century onward, the Saint Nicolas celebrations were replaced in Alsace by parades of teenagers of both sexes dressed in white, going from door to door to give gifts and sing Christmas songs. However you can't have teenage boys and girls go around late at night without getting some problems... And those "Saint Nicolas hook-ups" were a real problem in Alsace, you have records from the 17th and 18th centuries pointing out how authorities have to try to refrain all the Christkindl from... well you know.]

The next entity presented is the famous Pays Basque character of Olentzero, whose appearance is that of a coal-man. Well a bizarre coal man - he has a bag filled with coal in one hand, a sickle in the other, a large beard on his face and a béret on his head. According to the Basque-version of the Nativity lore, he lived at the top of the mountains but saw in the sky the announcement of the birth of Kixmi (Basque name for Jésus), and he descended from his mountains to announce the good news. While he is the gift-giver of Pays Basque, leaving gifts for children in the night between the 24th and 25th of December, entering in the house by the chimney ; he is also a bogeyman figure, as he was a scary-looking man who was said to take away in a bag naughty children. As with everything Basque, Olentzero is actually a pre-Christian figure, as the very name of the character is related to the "pagan" winter solstice celebrations of the old Basque religion.

[Again, time to bring some more information from other websites to make sure I give a more complete portrait:

Long story short, because the Basque folklore is very well documented and I can't spend too much time on this, the Olentzero (or Olentzaro, Orentzaro, Omentzaro, Orantzaro...) is at the same time the Basque name for Christmas and the Basque figure of the coal-man that brings gifts during Christmas. He is supposed to be a grotesque character - rude, fat, dirty, gluttonous, his face blackened by soot, with worn-out clothes... He is basically a caricature of mountain-men and forest-men. Sometimes he is even given monstrous traits such as "having as many eyes as there are days in the year, plus one" - which is reminding of a French being of the New Year folklore called L'Homme aux Nez who also has as many noses as there are days in the year...He typically holds branches of gorse in one hand and a sickle in the other.

He comes down from the mountains, enters houses by chimneys, goes into the kitchen once everybody goes to sleep to eat all leftover food, and he warms himself by the fire - either you had to leave a log burning just for him, either he used the flames of the fire to burn his gorse branches. In fact, "olentzero" was also the name of a special log that was left bruning in the fireplace from Christmas to the 1st or 6th of January. This theme of the "coal man" of winter or the burning of branches all answers to a deep motif of bringing back light and heat in the heart of the cold and the dark. Him holding a sickle has made people draw parallel between him and the figure of Saturn/Kronos.

In fact, there is an old tradition, long before the Olentzero was embodied by a disguised man or by a mannequin paraded through the villages, to embody the character simply by the sickle. The sickle hanged by the chimney, as a threat to all disobedient children, to all lying children, and to all children that refused to go to bed. Another symbol of the Olentzero, outside of the sickle and the coal-sack, is a wine-bag or wine-bottle that he carries around, because to add to the grotesque he is also a drunkard, and according to stories it is because he gets often drunk that his wife regularly beats him. (Because yes the Olentzero has a wife, a character named Mari Domingi and who is typically depicted wearing a medieval regional outfit). However it seems that all this grotesqueness is simply due to the Olentzero being a character from the old Basque mythology that got Christianized - think of how the Dagda of Celtic mythology also got more buffoonish/clownesque/grotesque as time passed. We do know that the roots and origins of the character lie in the valley of Bidassoa...)

Today gone is the creepy bogeyman and grotesque glutton ; the Olentzero has evolved into a kinder, nicer, cleaner incarnation that is closer to the Père Noël traditions. For example he now parades through streets during the day, riding a horse (pottok) or by foot, giving children candies and sweets (including fake-coal actually made of sugar) ; and the legend claims he goes down from the mountain to offer coal and wood-logs to the poor families that can't afford fuel for their fire]

And finally, we find back our good old Père Janvier! Here we have most of the same info as previous. Père Janvier was a Bourgogne character, most present in the Morvan and Nivernais regions up until the 1930s. He brings gifts in the night between the 31st of December and the 1st of January by going through the chimney - chimney which must be decorated with holy and mistletoe. Père Janvier (Father January) typically looks like a skinny old man with a long white beard, dressed in a brown monk-like robe, and he is usually bent due to wearing on his back a heavy wicker basket filled with toys. And he too has for companion the Père Fouettard.

Most interestingly, the website mentions "Père Janvier variations" across France, most notably the Savoie character of Père Chalande, and the Normandie character of Barbassioné.

More information from other website. Le Père Chalande (or Papa Chalande, Daddy Chalande) was indeed a figure of the Savoie region, but also of the Dauphiné, and he was also present in Geneva. Martyne Perrot, in her book "Faut-il croire au Père Noël? Idées reçues sur Noël" even lists the area of action of this figure as: Savoie, Suisse romande, Bresse, Forez, Ardèche, Gard, Lozère and Hérault. He is basically identical to Père Noël because "Chalande" is just an old word for "Noël" (Christmas) in the regional language known as arpitan.

There was a traditional song that went as such: Chalande est venu / Son chapeau pointu / Sa barbe de paille / Cassons les anailles (noisettes) / Mangeons du pain blanc / Jusqu’à Nouvel An. / Il monte dans sa chambre / Il trouve une orange / Il la pluche / Il la mange / On l’appelle le petit gourmand. / Il descend les escaliers / Il se casse le bout du nez / Il va chez le cordonnier / Se faire mettre une pièce au nez / Quand il est malade / Il mange de la salade / Quand il est guéri / Il mange des souris/ Toutes pourries !

I can't translate the full song, but it refers to various traditions. For example leaving an orange for Père Chalande ; Père Chalande wearing a "beard of straw and a pointy hat" (leftovers of Saint Nicolas, especially the pointy hat) ; Père Chalande giving "anailles" (walnuts) to children ; and the habit of placing inside the Christmas log (real log of the fire) chestnuts, so that the burning of the Christmas log doubled as the cooking of the wintery treats. Raymond Christinger wrote in 1965, in a set of research about Geneva folklore, an article studying the character of Chalande, if you know how to read French: here.

While doing Chalande research I stumbled upon a Swiss theory brought forward by a journalist named Bernard Léchot - I don't know how accurate this is when it comes to actual evolution of Christmas figures, but here it is. According to him, the Christmas archetype of the "Old Man" actually comes 18th century Germany. In this era of rationalism, the German Protestant landgraves decided to introduce some laicity to their country, and so cut-off all characters close to Christianity from their Christmas celebrations (from Saint Nicholas to Christkindl). As a result, pagan figures returned, including the Old Man in the shape of Weihnachtsmann. Which then spread to other European countries, each land creating its variation: Bonhomme Noël in France, Father Christmas in England, Père Chalande in Savoie.

As for the Barbassioné of Normandie, I found nothing about him. As in every says it is the Normandie name of Père Noël, but he doesn't have any specific thing to his character.

To conclude, I will link you to a page documenting a Père Noël/Christmas beings exposition that collected various visuals of the history of the Christmas gift-givers through time, right here.

And through it you will see the evolution from the "Scandinavian ancestors" (Thor and Odin) and Saint Nicolas (celebrated in Germanic countries and the Alsace region), to the American Santa Claus and the British "Old Father Christmas", passing by the Germanic Knecht Ruprecht, the also Germanic Weihnachtsmann, the Christinkindel (of Germany, Belgium and Alsace), the Jultomte of Sweden, and the Enfant Jésus/Child-Jesus of France and Italy...

Without forgetting the French Bonhomme Noël, the Italian Befana, the regional ancestors of Père Noël (Tante Arie, Père Chalande, or the Breton Ted Nedelec), the Russian Ded Moroz, and Mère Noël (Mother Christmas)... With additional sections about Santa Claus in advertisements, the theme of "outlaw Father Christmas", Père Noël during the World Wars, and more...