#informational post

[broomsick]

Short guide to varðlokkr

Briefly exploring ritual singing and spirit work in the nordic tradition, and their possible uses in neo-pagan practice.

Before performing divination, it's said that völur would sing, or more often than not, have someone sing a ritual song in order to "rouse the spirits". This ritual was a way to call upon nearby spirits—generally guardian spirits, to come and answer their questions. The practice of varðlokkur, or "ward songs/protection songs", is tightly interwoven with the art of seiðr. According to the few sources that mention the topic, it was performed by seeresses seeking to prophecize, or by women willing to sing it in their stead.

Before diving deeper into this topic however, it's important to note that the interpretation of the term varðlokkr, and in a sense, the very basis of its current scholarly understanding, depends on its possible etymology. Two hypotheses stand out in this regard: varðlokkr is either spelled with one or two k's, either varðlok or varðlokk. The former would refer to "locking", or "fastening", and is often associated with a passage in the Grógaldr (The Spell of Gróa) where the shamaness refers to Urðar lokur, or Urð's locks/bolts. In this case, the song is a matter of "locking" the spirits in. Whereas varðlokkr would stem from the same root (vǫrðr, meaning to guard or ward), but in this case, lokkr would come from lokka, meaning to lure, or entice. It's generally agreed upon that both these instances showcase how the idea of protection was a key element in the perception of this practice.

These so-called "Weird-songs" sometimes required the use of a rhythmical sound created using drum beating, rattles, or by hitting the ground with a staff. They served as an invocation to higher powers or local spirits, who would be keen to protect ("ward") the seeress as she glimpsed into the future. According to pre-Christian belief, the sound of these songs had the power to appease surrounding spirits, but also to entice and lock them into the space for the duration of the divination. Letting her spirit wander out of her body in order to scry, the völva/seiðrkona became vulnerable, hence the need for higher protection. Now "bound" to her until the completion of the ritual, the guardian spirits would be inclined to lend their help. Depending on the intepretations, this type of ritual singing could also have been a means to reach a trancelike state before fortune telling.

'Many spirits,' said she, 'have been present under its charm, and were pleased to listen to the song, who before would turn away from us, and grant us no such homage. And now are many things clear to me which before were hidden both from me and others.' Eiríks saga rauða, chapter 3

The trance aspect of this practice is often debated, however. Granted, it's possible to point out similarities between seiðr and the "out of body" travel of Sámi and Siberian shamans. After all, a few sources tell us that varðlokkr would also serve to bring the völva back into her own body once she'd prophecized. Still, scholars more often than not consider varðlokkr and other seiðr practices as putting oneself in a "receptive state" in order to comprehend messages sent from the spirit world.

At the beginning of the séance all those present seem to have taken part in the singing, but a special choir was appointed for continuing operations:  this is in several accounts said to consist of women or one woman. Singing continues throughout the séance, the purpose being to remind the shaman of his mission.  Some sources indicate that the singing was concentrated or confined to the final stages of the trance, and the aim here was to wake the shaman. Louise Bäckman & Åke Hultkrantz

Think of varðlokkr as a way to blend music, divination and spirit work. A modern practitioner who already works with Dísir, vættir, ancestors, and the like can involve these familiar spirits in the ritual, for example, by calling upon a passed loved one to protect them during divination, or even to aid in finding answers. It's generally agreed upon that during the Scandinavian pre-Christian times, the wisdom of the dead occupied a vital place in many such shamanic practices. One could seek advice from passed mentors or loved ones in this manner. Even disregarding the idea of "rousing" spirits and "locking" them, I believe that one could still use to music as ritualized invocation—especially when it comes to ancestor work, in order to ask for advice or insight.

Next to nothing is known about what varðlokkr actually sounded like. However, I think it's still interesting to explore the idea of ritual singing as a shamanic practice. For someone interested in experimenting with galdr, seiðr, or any such shamanic practices in the Nordic tradition, varðlokkr seems like a great place to start.

So how does one incorporate ritual singing into neo-pagan practice? I'm sorry to say that it's exceedingly difficult to somehow reconstruct varðlokkr, as history has left us with nothing but bits and pieces to work with. However, three main particularities stand out and aid us in tracing a general outline: 1. the Weird-song is sung before divination as an opening practice; 2. its purpose is to call upon spirits; and 3. it most likely served as a sort of short-term ward for the person performing the ritual. These three concepts may be preserved, and the freedom to build around them is yours.

For this reason, we even have the option to simply pick a song which feels sacred and play it before rune casting, or tarot reading for example (needless to say such a practice also applies to any and all methods of divination, including scrying). After all, there's really no indication that the practitionner must sing the song themselves. Even in the few accounts mentioning varðlokkr, the seeress isn't always the one singing.

But if you decide to sing the varðlokkr yourself, it's also possible to learn the lyrics to a song that's already part of your practice. If working with the spirits of the dead, and especially with passed loved ones, why not play a song that a given ancestor loved in life? Artist Einar Selvik has composed a short skaldic-type song called Vardlokk, which has understandably become my own ritual song. I play it to get into a spiritual state of mind, helping me tremendously before spirit work—which coincides in many ways with the original purpose of varðlokkr. But it's safe to say any type of music may be used. And if you're interested in trance or trance adjacent practices, chanting may be used in such a manner as well.

There are many ways for us neo-pagans to adopt the practice of varðlokkr, since in one way or another, music is always tightly intertwined with religious practice. One can choose to wholly disregard the spirit work aspect and simply explore the idea of ritual song and its ties to divination. No matter the case, shamanic practices were an inherent part of Nordic religious tradition, and I think it can be useful for modern practitioners to learn about them and explore the possibilities that they offer.

If you're interested in further reading, I've linked at the beginning of this post an ask I answered a while back pertaining to seiðr, galdr, and other shamanic practices of the Norse. Within the post are also a few suggested pieces of reading that have helped my personal understanding and research.

[grey-sorcery]

[Title]: Magical Potency: Improving the Efficacy of Magic

Suggested Reading

Finding Balance Threshold Theory Correspondences  Conceptualization Vs. Visualization Visualization: Effective Implementation Basics of Energy Work Basics of Spellcasting Spell Logs Intro to Gnosis Bias in Witchcraft The Subtle Body Axioms of Energy Work The Wellsource Energy Work & Spoon Theory Shadow Work: First Steps Intro to Grounding

Introduction

Magical potency refers to the efficacy and strength with which a spell is executed. This encompasses the accuracy with which the ritual is performed, the precision of the elements involved, and the intensity of focus and energy channeled into the endeavor. In simpler terms, it's about increasing the likelihood of a spell's success, assuming all other requisite and advantageous factors are adequately addressed. 

The significance of magical potency cannot be overstated. For practitioners, the objective is not merely to perform rituals but to execute them in a way that yields measurable results. In the same manner that a scientist would aim for exactness and reliability in an experiment, a magical practitioner should aim for a high degree of potency in their workings. Achieving this standard is more than a matter of personal pride or skill; it is about the responsible wielding of one's abilities to bring about change. When potency is elevated, the outcomes are more predictable, thereby enhancing the reliability of the magical practice as a whole. Moreover, it minimizes the risk of unintended consequences, which can range from inconsequential to potentially hazardous.

The Magical Potency of a Vast Majority of Publications, From Tumblr to Books

Candle Magic

Candle magic serves as an excellent entry point for neophytes in magical practice. Its allure lies in its straightforward design and uncomplicated mechanics, making it accessible for beginners. However, the simplicity that makes it attractive also serves as its Achilles heel. A plethora of publications, ranging from social media posts to books, frequently omit crucial details that are indispensable for ensuring the spell's effectiveness. For instance, many resources neglect to delve into the nuances of "intent," often misconstrued as mere desire, even though it is actually  one's personal truth. Furthermore, these publications have a tendency to reduce the complexity of the practice to mere lists of correspondences, thereby overlooking the intricate mechanics that govern how a spell functions. This dearth of comprehensive information is a disservice to newcomers who seek a robust understanding of the practice, and it impedes their ability to enhance the efficacy of their spells.

Candles & Twine "Cord Cutting"

Another practice that has gained considerable attention is the use of candles and twine for what is commonly referred to as "cord cutting." On the surface, this practice provides valuable insights into personal relationships. However, a closer examination reveals significant shortcomings. Most notably, the ritual fails to fulfill its purported function of severing emotional or psychic connections—what is commonly referred to as "cord cutting." Instead, it remains an exercise in symbolic action that lacks the mechanics necessary to bring about real change. The information provided in popular publications often restricts itself to symbolic associations, failing to offer a comprehensive guide to the mechanics or other vital elements that could make the practice genuinely effective. Consequently, any results are likely psychological in nature, rather than stemming from genuine magical activity, unless utilized as a tool for divination.

Sigil Magic

Sigil magic enjoys widespread popularity due to its accessibility and the relatively common understanding of its mechanics—albeit mainly within the framework of the psychological model. Its versatility is another strong suit, capable of serving as a supplementary element in various other magical practices. However, it's crucial to scrutinize the limitations of this method. The preponderance of popular sigil crafting techniques derives from, or modifies, the Spare method, which operates solely within the psychological model. In essence, this approach amounts to subconscious suggestion rather than authentic magical action. As a result, practitioners may find themselves constrained by a limited scope of magical efficacy. Furthermore, the lack of accessible information on alternative methodologies exacerbates the problem, leaving practitioners with a narrow, and sometimes misleading, understanding of what sigil magic can achieve. The ubiquity of this practice also means that misinformation and misinterpretation are rife, further muddying the waters for those seeking to deepen their understanding and improve their skills.

Increasing the Magical Potency of Common Practices

Candle Magic

To augment the efficacy of candle magic, a considerate approach is essential. First, it's crucial to identify the traditional symbolic associations of various elements involved in the spell and consider whether your own personal correspondences might be more effective. Next, identifying a central point of focus, or state of gnosis, can serve to concentrate your energy more efficiently. This focus should align with your own deeply-held beliefs or personal truths to maximize the spell's efficacy.

Another vital step involves contemplating the specific means by which the spell will manifest its effects. This doesn't merely involve wishing for a particular outcome, but rather planning out the logical steps and mechanisms that will make it happen. This also involves doing conscious energy work that goes beyond mere mental imagery. Instead, one should focus on manipulating energy via the subtle body and energetic senses, perhaps using breath work, gestures, and/or vocalizations as aids.

Identifying the emotional state that will best serve the spell is another significant aspect. This emotional state should be in harmony with your personal truths and can serve to fuel the spell's energy. Additionally, writing out the specific mechanics of how the spell will function can provide clarity and enhance focus during the actual performance. Memorizing all actions or incantations can also prevent disruptions that might break your concentration during the ritual.

Cord Cutting

For those looking to enhance the efficacy of cord-cutting rituals, a complete overhaul is likely required. 

Before the working, contemplate the means through which the spell will manifest its effects as to avoid any negative or harmful outcomes. Utilizing twine and a knife—or scissors, for those concerned about safety—can create a strong symbolic action that aids the spell. It's also beneficial to use correspondences, either mental or physical, that are directly connected to the target individuals. This requires either a strong personal knowledge of the individuals involved or a potent taglock to symbolize them.

Conscious energy work is again advisable, and this should be done without relying solely on mental imagery. Maintaining a state of focus, or gnosis, throughout the entire working is essential. To deepen your understanding and improve the potency of the ritual, you might also study various philosophies or religious teachings concerning the concept of fate or destiny. 

Identifying an emotional state that aligns with your personal truth can also serve to fuel the energy of the ritual. Once the primary cord-cutting action has been performed, the common chords and candles approach can be employed as a form of divination to gauge the likely effectiveness and manifestation of the spell.

Sigil Magic

For those looking to venture beyond the well-trodden path of the psychological model in sigil magic, a multitude of avenues are worth exploring. To start, one should consider researching or contemplating how sigils could function within different paradigms or frameworks. This might involve developing an entirely new method of sigil crafting that deviates from the commonly used Spare method.

Contemplating the mechanics of how a non-psychological sigil could function is equally important. This might involve studying different cultural practices or philosophies to gain new perspectives. Researching various methods of charging and activating a sigil can also yield valuable insights. Different modalities might be more effective depending on the specific nature of the application in which the sigil will be used.

When incorporating a sigil into another spell, it's crucial to think critically about how the two will interact and complement each other. Drawing the sigil while in a state of deep focus, or gnosis, can enhance its accuracy, If this state is backed by strong emotional energy that aligns with your personal truths, its momentum will increase. The precision of a sigil can also be highly increased by performing energy work consciously while drawing the sigil. Finally, selecting a method of charging and activation that complements both your own capabilities and the specific nature of the working can serve to greatly enhance the overall potency of the spell.

General Practices and Methods to Improve Magical Potency

Research, Study, Experimentation, and Recording

The cornerstone of enhancing magical potency lies in a rigorous approach that involves research, study, experimentation, and detailed recording. When conducting research, it's imperative to look beyond sources that merely resonate with you on a personal level; instead, aim for a diverse array of reputable sources to avoid cognitive bias. Subsequently, study these materials assiduously, revisiting them often to consider ways you might expand or refine the practices described.

The use of experimentation, formulating and documenting predictions about how a spell will manifest is invaluable. These predictions should be dated and revisited to assess the spell's effectiveness. Sharing these predictions with other practitioners can serve as a check against confirmation bias. Conducting low-stakes spells can also serve as a useful methodological testbed, helping you refine your approach based on outcomes.

Maintaining a log of your spells is an essential practice. This archival process will facilitate a retrospective analysis, enabling you to discern which variables contributed to or hindered a spell's effectiveness.

Being Critical

Critical thinking should permeate your magical practice, although it's best applied either before or after a working, not during, so as not to disrupt your focus. Discernment in planning a working can preemptively address potential issues. After the spell's completion, seek feedback from anyone aware of the working but not of its projected outcomes. In your analysis, consider mundane factors that could have influenced the result, recognizing that magical outcomes often manifest through seemingly ordinary means. Keep a record of both successes and failures, and understand that setbacks are educational opportunities, not indicators of personal inadequacy.

Helpful Practices

Regular meditation can serve as a foundational practice for enhancing focus and understanding your inner landscape. Additionally, action flow states can be achieved through rhythmic, lyric-free music coupled with physical activities in sync with the beat. This can facilitate a trance-like state beneficial for magical work. Shadow work, while in no way is necessary, can help you uncover deeply rooted personal truths, while the development of personal symbolic associations can facilitate more potent states of focused awareness.

Energy Work

Contrary to popular misconceptions, energy work is neither a form of mental imagery nor a misapplied concept often referred to as "intent." It involves a nuanced understanding of one's subtle body and its energy centers. Identifying your Wellsource—the origin point of your energy—can further deepen your practice. Mastering the art of manipulating this energy effectively can be a powerful tool in improving magical potency.

Appropriation and Decolonization

It's crucial to recognize the importance of decolonizing one's magical practice. This entails a conscious effort to eschew cultural appropriation and to respect the origins and contexts of various magical systems. While learning from diverse traditions can enrich your practice, it should never involve taking elements out of their cultural context for personal use without proper understanding and initiation. Decolonizing your magical practice is a significant endeavor that requires sustained commitment, self-awareness, and active engagement. Here are some steps to help you in this important journey:

Educate Yourself: The first step in decolonizing your practice is to become knowledgeable about the histories, cultures, and traditions from which various magical practices originate. This will help you understand the contexts in which these practices were developed and how they have been affected by colonization.

Acknowledge Origins: Always give credit to the cultures, traditions, and communities from which certain practices and tools originate. This is not only a matter of respect but also a way to counteract the erasure that often occurs when practices are appropriated.

Assess Your Sources: Evaluate the materials you are using to learn about magical practices. Are they written or produced by individuals from within the tradition? Do they provide historical and cultural context? Are they respectful and do they avoid exoticizing or commodifying the practices they describe?

Reflect on Motivations and Entitlement: Examine your reasons for incorporating specific practices or tools into your own practice. Are you doing it because it's "trendy" or because you feel entitled to pick and choose from other cultures? Such motivations can be indicative of a colonizer mindset.

Avoid Cultural Cherry-Picking: Engaging deeply with another culture's practice means more than just adopting its magical or spiritual elements. It involves an understanding and respect for the culture as a whole, including its history, struggles, and contributions.

Engage in Dialogue: If you are interested in a practice that originates from a culture different from your own, try to engage in a respectful dialogue with individuals who belong to that culture. Seek their perspectives and listen to their experiences, and ask for their insights into ethical engagement with their traditions.

Prioritize Marginalized Voices: Elevate the voices and teachings of individuals from marginalized communities who are sharing their own traditions. Their perspectives are often sidelined but are crucial for a genuine understanding of these practices.

Financial Support: Whenever possible, support practitioners from the culture of interest by paying for their services, buying their products, or donating to causes they recommend. Economic empowerment is a form of reparative justice.

Revise and Reassess Continually: Decolonization is not a one-time action but an ongoing process. Keep updating your practices as you gain more knowledge and understanding. This may mean abandoning practices or tools that you now recognize as inappropriate for you to use.

Be Accountable: If you make a mistake—and most people do when they are learning—own it. Apologize, learn from it, and make amends if possible. Then take steps to ensure you do not repeat the same mistake.

Advocate and Educate: Use your platform, however big or small, to educate others about the importance of decolonizing magical practices. Share resources, engage in conversations, and challenge instances of appropriation you encounter.

Practice Humility: Recognize that the process of decolonization involves continual learning and that you won't have all the answers. Be open to criticism and willing to change your viewpoints and practices accordingly.

How Appropriation Negatively Affects Magical Potency

The act of appropriation in magical practices not only raises ethical concerns but also has deleterious effects on the potency of the rituals involved. One of the most glaring issues arises from the isolation of a practice from its original cultural context. Traditions, rites, and spells often have deeply ingrained cultural meanings and histories. When extracted from their native milieu, these practices lose the richness and nuance that contribute to their efficacy. The symbols, words, and actions employed in a ritual are often deeply tied to the specific geography, language, and folklore of its origin. Stripping away this context can dilute the ritual's power, rendering it a mere simulacrum of its original form.

Another significant concern pertains to the connections with spirits and ancestors that are inherent in many magical systems. These relationships are often built over generations and are rooted in specific cultural narratives, myths, and practices. When one appropriates these systems without a genuine link to the cultural lineage, the connection to these spirits and ancestors becomes tenuous at best. In some cases, this could even be seen as a form of spiritual trespassing, which not only questions the ethical standing of the practitioner but also diminishes the effectiveness of the ritual. These ancestral and spiritual links act as conduits for magical energy, and without them, the practice becomes hollow.

Lastly, the issue of alignment with one's personal truth cannot be ignored. Each individual has a unique set of beliefs, experiences, and perspectives that inform their magical practice. When one adopts practices from another culture without proper understanding or respect, there is a high likelihood that these borrowed elements will not align well with one's personal truths. This dissonance can create an internal discord, which in turn weakens the potency of the magical working. A harmonious alignment with one's core beliefs and experiences often serves as the bedrock upon which effective magical practice is built.

Implementation of the Concepts Discussed

The efficacy of magical practices can be significantly bolstered by adeptly incorporating cognitive techniques related to memory and repetition. One such method involves capitalizing on short-term memory. After assimilating beneficial information, executing a straightforward magical working immediately afterward can aid in embedding the newly acquired knowledge. This rapid recall and application essentially serve as the anchoring of the information more firmly by immediate utilization. This technique leverages the brain's natural propensity for retaining recently processed information and puts it to practical use, thus enhancing the likelihood of a successful magical outcome.

Subconscious memory plays a similarly pivotal role in the refinement of magical practices. The consistent and repeated consumption of relevant information can precipitate a subconscious framework that thereafter influences your methodologies. Over time, this reservoir of deeply ingrained knowledge becomes an almost instinctive guide during magical workings. The more frequently you engage with this material, the more it seeps into your subconscious, ultimately serving as an internal compass that steers your practices toward greater potency. Hence, the diligent study of reputable materials can lay the groundwork for a more effective and nuanced magical practice.

Repetition, both cognitive and practical, stands as another invaluable tool in solidifying one's magical practices. Repetitive engagement with the material, whether it's through written summaries, vocal articulation, or mental rehearsal, can fortify the neural pathways associated with that specific information. Furthermore, the regular enactment of magical workings that incorporate these concepts can engender a form of habituation. These practices, through repetition, become ingrained behaviors, thereby increasing the ease and fluidity with which they can be executed. This habitual nature, in turn, contributes to an overall enhancement of magical potency.

Patreon Shoutouts!

Thank you for your continued support! My patrons help me maintain the drive to create content and help me keep food in my pantry. My patrons of Early Bird tier and higher had access to this article a week before it was public! To see other perks of supporting me, click here!

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Megan Kipp!

Cosmicaquamarie

To learn more about me or view my Masterpost, click here.

This post was reviewed and edited for easier reading by ChatGPT.

[fallloverfic]

S-Classes that I Raised/My S-Class Hunters information post

내가 키운 S급들 | S-Classes that I Raised (“SCTIR”) is an ongoing Korean fantasy webnovel on Munpia, Naver, Ridibooks, and Kakao by 근서 | Geunseo that has been adapted into an ongoing manhwa/webcomic (My S-Class Hunters) (though the manhwa is on hiatus at the moment after the conclusion of season 1). The second cover art is by onlyraii. The novel is published by 제이플미디어 | JAYPLEMEDIA.

Manhwa adaptation summary: "Yoojin is an F-ranker overshadowed by his little brother, an S-ranker. All he does is get in his brother’s way, causing trouble wherever he goes. When a seemingly routine dungeon raid goes wrong and costs Yoojin his brother’s life, Yoojin decides to use the wish granted by clearing the dungeon to reset his timeline. The plan was to lead a quiet life from now on… but now it turns out he can help other people become S-rankers?! Maybe this is Yoojin’s chance at building his own entourage of powerful metahumans… but it may be easier said than done." - Naver Webtoon

SCTIR the webnovel has an 858-episode main story, a 14-episode epilogue, a completed 167-episode Side Story (sequel) and an ongoing 27-episode Afterward/Later Story (sequel). It was first published on June 29th, 2018 (Munpia).

The main story and epilogue were reformatted into 35 ebooks (Naver, Ridibooks, Kakao), which began publication on May 1st, 2020, and the ebooks have interior illustrations from 비완 | Biwan for volumes 1-14 and a few other artists for the other 21 volumes. Here's a post on some of the interior art that JPLE has shared online.

The ebooks also have extra scenes in various places and possible revisions, which differs from what is available in the individual episodes. The Korean ebooks also began being released in paperback in November 2024.

A guide for reading SCTIR on Munpia and Naver (this is meant for another fandom, but it's also designed to work for anyone who wants to read any similar works on Munpia and Naver).

This is meant to be a collective post for information on the novel and manhwa, as well as translations, which will update as new information comes up.

Geunseo

Geunseo is the author of the webnovel. Back in mid-2022, Geunseo replied to questions from readers in a very long Q&A, which folks shared on various platforms.

Translations of the webnovel

There is no official English translation of the webnovel, though there are a few fan translators, but most are just people putting the episodes through machine translators ("MTL") and sharing those online, or doing modified/partial MTL, which involves MTL most/all of the episode and doing partial translation/editing on the results. There is also a lot of confusion because people tend to MTL the individual episodes, not the revised ebooks, so folks reading one but not the other one are going to have different understandings of the story.

Side Stories/Sequels

There are two side stories for SCTIR, both of which are sequels to the part that came before. The order is main story (not an official name, it's just the regular story) > Epilogue > Side Story > Afterward/Later Story. Side Story and Afterward/Later Story are only available on Naver for some reason.

SCTIR manhwa, My S-Class Hunters

SCTIR's manhwa adaptation is published on Naver Comics / Naver Series, began publication on November 15th, 2021, and is 153 episodes long. There's a trailer from right before it released on YouTube.

The manhwa is adapted by 제이플미디어 | JAYPLEMEDIA, with principle art by 비완 | Biwan, and the head of storyboard is seri. Other crew on the team include 징개 JINGGAE | JING_GAE (assistant direction), 김피로(KPR) | tired_kim, and 한흔 | hanheunhan. A lot of the crew share previews and behind the scenes material on their twitters. Although the manhwa is very far behind the novel, the crew are generally novel fans (Biwan did art for the ebooks, after all), and they will also sometimes do fanart for recent episodes of Side Story/Afterward, so be wary if you want to avoid spoilers. The manhwa currently stops in volume 7 of the novel, around episode 168.

The manhwa also differs in many ways from the novel, which is normal for an adaptation. Changes include some chronological reorganization of events, expansion of certain characters and relationships, some modifications to skills, additional scenes, etc.

The original Korean updates weekly on Naver on Tuesdays around 10:30-11:00 AM ET, though it's currently on hiatus after the conclusion of season 1. Most translations are currently some ways behind the original Korean, so they have a bit to catch up on during the hiatus if they're ongoing.

The English translation updates weekly at 9 PM ET on Wednesdays on Webtoon, and at 00:00 ET on Wednesdays on Tappytoon. The Webtoon version is free to read, but the last several episodes are paywalled, and these episodes can be accessed by cookies (the currency on Webtoon). Guide for how to read for free on Tappytoon. SCTIR's manhwa is also available online in French (though it seems to be on a hiatus since 2022), German, Japanese (俺が育てたS級たち), Spanish (Los clase S que crié), and Thai.

April Fool's Day Jokes

Both the novel and manhwa teams, like a lot of Webtoon manhwa teams, usually do a joke post for April Fool's Day.

The 2022 joke post for the novel was seemingly a parody of the then-unreleased novel cover by onlyraii. The 2022 joke post for the manhwa was a magical girl Yoohyun parody.

The 2023 joke post for the manhwa was Yoojin, Yerim, Yoohyun, and Peace making heart signs.

The 2024 joke post for the manhwa was to have most of the cast become dinosaurs.

[hyakinthou-naos]

Hello! Could you explain how you make your own authorial prayers? Or even explain how they are made?

Khaire Dollovee,

Thank you for your question! For my answer, I am going to assume that you mean authorial prayers as as synonym for self-written prayers -

When it comes to the hymns I write, I don't have a specific formula or process. I have personally been writing my own poetry and music since I was about 7, so for me most of my hymns are lyrical and/or poetic in nature. I personally believe that every hymn I write is divinely inspired through Lord Apollo himself or the Mousai. (Not that they are speaking through me, just that their blessings guide my work).

However, when I write formal prayers, I follow ancient tradition in how I try to structure my words.

"Any devout worshipper may compose such a verse. A prayer begins with the invocation, including the appropriate epithets and identifying characteristics specific to the particular God or Gods. Thereafter, the request or petition follows..." - Hellenic Polytheism: Household Worship (2014, pg 67)

You can see examples of this in this post in the "Opening Prayer & Deity Invocation" section, as well as in the other Hyakíntha ritual posts.

I hope that helped to answer your question. If you have follow up questions please don't hesitate to ask! Additionally, we offer free customized written works as a service the Temple provides to patrons and visitors. You can read more about that here.

Eirene - peace and farewell,

- Aön

[huginsmemory]

The Eye of Micheal design and the Zia Sun Symbol

I'm not exactly the best person to talk about this, since I'm not Zia/Tsʾíiyʾamʾé (an Indigenous people group from what is today called New Mexico, for those who don't know) but I'm also Indigenous and this is something that has been really bugging me for a while.

The new eye of Micheal design in Stampede is very clearly heavily based off the Zia Sun symbol, a symbol that is found on the state of New Mexico's flag... and is originally a sacred symbol of the Zia people that has been grossly misappropriated by the state itself and internationally.

ID: Two photos. Left is of the flag of New Mexico, with the Zia Sun symbol in the middle in red on a yellow background. There are four rays emanating from each cardinal direction from a circle in the middle, in such a way it forms what could be a 'square cross'. The rays touch the circle.

Right is a screen cap from episode 10 of tristamp, showing Wolfwoods contract. The symbol of the Eye of Micheal is on it. Instead of four from each cardinal direction, 'north' has three medium length rays, and 'south' has three long rays, while 'east' and 'west' have only one short ray emanating from (but not touching) the centre circle. As a result it looks like a typical Christian cross with a lengthened 'south'.

History

This article provides a really good background on it, but to summarize:

The symbol is an exceptionally significant religious symbol that represents the Zia themselves (along with other specific meanings) and is involved in religious healing and wellness processes; it was originally a secret symbol. However, the symbol was stolen from the nation by an anthropologist who was working with the nation, when he stole a piece of pottery with the symbol on it. The piece of pottery with the sacred symbol was then showcased in a museum, where another anthropologist took the design and submitted it for the flag of New Mexico; thus, it ended up becoming the state flag of New Mexico as we know today.

As a result, the design became legally public property, without the consent of the Zia, who now have no control over how the sacred symbol is used, and it has been grossly misappropriated and exploited by non-Zia, both within state and internationally. The Zia peoples have been lobbying to raise awareness of this issue, to both stop exploitation and frivolous use of the symbol which is considered desecration, and also have requested that those who want to use the symbol to ask for consent and for them to provide funds to the education of their children.

How this applies to tristamp

The Zia Sun symbol is, well, to put it bluntly, basically used as the symbol of the Eye of Micheal, just altered to more represent a typical Christian cross... something which would be considered misappropriation and desecration of the symbol. This ESPECIALLY so as the Eye of Micheal is clearly a Christian cult; misappropriating an Indigenous religious symbol and saying that it represents Christianity and a Christian cult no less, is, as an Indigenous person, EXTREMELY disrespectful, considering the history of Christianity and how it's been used to actively destroy Indigenous religion and culture. Also, as the symbol has been said to represent the Zia people, and is related to religious healing and wellness processes, having the symbol basically be used to represent an Christian cult of assassins who essentially medically experiment and abuse Wolfwood who is Hispanic-coded for their own gain is... Not great.

I overall understand that since as Wolfwood is heavily Hispanic coded, the crew behind stampede likely wanted to tie more of that into his background, and so seeing the Zia Sun symbol thought that would be a good way to nod to a Hispanic background (instead of, I dunno maybe not white washing him), but then failed to do proper research on it.

Going forward

Ok, so what does that practically mean for fans? Well, again... I'm not really the best person to say exactly what, but if this was my own nations sacred symbol, and by going from what I've read on the requests about the Zia Sun symbol then here's a few pointers:

I'd just avoid using the design in fanart. Hell, it's only showed up in tristamp, so there's plenty you can work with without the design, based around just general Christian imagery. I know a lot of people really like giving Wolfwood tattoos of the 'eye of micheal' symbol, since tattoos are hot, but I'd ask to please just use Christian symbols instead. I've seen so much nsfw fanart with essentially the Zia Sun Symbol...

For art you've already posted with the Zia sun symbol; it'd be nice to remove the art and put another version of the art up without the sun symbol.

Also, I know I've seen people talking about getting tattoos of it as a quiet nod to trigun... Please don't. It's more likely that people will recognize it as a Zia sun symbol rather than a Trigun symbol which might be an awkward conversation for you.

I do want to say this: I know most people don't know about this, and honestly I didn't know about the Zia sun symbol issue until a couple months ago when talking with a friend about Trigun. It's fine if you didn't know before! We live and learn and grow, and what matters is that going forward you adjust your behaviours.

TLDR: The 'Eye of Micheal' symbol is very clearly an adjusted Zia sun symbol, a sacred and originally secret symbol of the Zia people that was stolen from them and has been grossly misappropriated and exploited by both the state of New Mexico, and internationally. The Zia people as a result have asked people to not use the symbol without their consent. Within tristamp the use of the Zia sun symbol to represent a murderous Christian cult is extremely disrespectful and would be considered desecration, considering how Christianity has historically (and continues to) help destroy Indigenous culture and religion. As a result, it is suggested that artists avoid using it within fanart out of respect.

[weirdstrangeandawful]

What is whump?

I get asked this question a lot so I figured I'd just make a post about it! I doubt a lot of people will see this since I'm a small whump blog but at least a few people will have a quick reference.

The short answer is that whump is a fictional genre of media. Like any genre, it's difficult for one person to entirely characterise but I'll do my best.

Whump is a fictional genre focused on the experience of pain. This can be physical pain or emotional pain. The pain could be acute or chronic. The focus could be on the recovery from the pain or on the pain itself. It's a super versatile genre!

Some frequently asked questions:

Okay, but how is this different from hurt/comfort?

This is a complicated question (hard to entirely characterise an entire genre, eh?) and it really depends on the writer. For me, hurt/comfort is a subset of whump where the comfort is required whilst whump is the larger, overarching genre where comfort is not an absolute necessity, but many others have different opinions!

What is a whumpee?

You'll often hear writers (especially prompt writers) in the whump community refer to characters as 'whumpee', 'whumper', and 'caretaker'. These are placeholder names like your good old A, B, and C. 'Whumpee' refers to the character experiencing the pain (literally 'the one being whumped'); 'whumper' is the (optional) character causing or contributing to the pain; and 'caretaker' is the (also optional) character helping care for the whumpee and alleviating the pain.

Why would I support someone who thinks people should experience pain?

Pain and adversity are facts of life. In fact, many of us as whump writers and readers engage with the genre to cope with pain and adversity in our real lives. It's important to remember that whump is a fictional genre and someone's interest in the fictional themes portrayed really aren't a reflection of what goes on in their real life. The name 'whump' may be contemporary but this is definitely not a contemporary genre (Shakespearean tragedies anyone?) so there is no use criticising its existence. If you don't like it, that's okay! Scroll on by and block the #whump tag if you need to. Like many artists, we're an accepting community and won't judge. In fact, we probably understand better than most that there is too much pain in the world and not everyone wants to read about more of it.

What's the difference between whump and BSDM/kink?

This is a complicated and very individualised answer. The oversimplified answer is that BDSM and kink are explicitly sexual/sensual whilst whump is not necessarily related to sex. But that is extremely oversimplified and doesn't cover all or even most people's experiences with either whump or BDSM/kink. The most generalised answer I can give is that whump is an overarching genre whilst BDSM and kink are individualised cultural practices and activites. But even that needs nuance and context to understand and apply. For me personally, I don't like combining the two because I experience them in very different ways, but that's just my experience!

Edit: I realise that I was not clear in the above answer. BDSM and kink are absolutely not inherently sexual at all. In my personal experience, I've found there to be a lot more overlap between BDSM/kink and sexual experiences than with whump but this is not true for many and maybe most people. No one person is qualified to answer this question.

[foreverinthepagesofhistoryy]

Three photos of The Romanov Family with Grigory Rasputin

Photo 1: Top Row: Olga, Middle Row: Anastasia, Alexei, Rasputin, Alexandra Feodorovna, Bottom Row: Maria, Tatiana, Maria Vishnyakova, 1909

Photo 2: Tatiana (obscured), Maria, Anastasia, Rasputin, Alexandra Feodorovna, Olga, 1907

Photo 3: Unkown Woman (if anyone knows who she is please tell me!), Maria Vishnyakova, Alexei, Rasputin, Maria (on the floor), Anastasia, Tatiana (above Anastasia), 1910

The Romanov family’s relationship with Rasputin is unlike the stereotypical “seducing madman” version that you might first hear. Alexei, the only son and heir to the Russian throne, was a hemophiliac (a disease where the blood cannot clot resulting in any minor bump or bruise could lead to severe hemorrhaging and even death) and had many accidents resulting in major pain for not just him, but for his entire family, especially his mother, Empress Alexandra Feodorovna. The Tsar and Tsarina (Nicky and Alix) were desperate to relieve their son’s pain and heard about Rasputin, a renound mystic healer, from some distant relatives and invited him to court to try to relieve Alexei’s pain. He came to court in 1906 and immediately calmed the boy who prior to this point would not stop crying, and managed to soothe both him and his worried family. Eventually the hemorrhaging stopped Alexei eventually made a full recovery. This “miracle” made Rasputin an immediate source of comfort for the family and became a new important friend. He visited the family often and Alexei and his sisters always looked forward to his visits, even Anastasia who was as young as 7 years old was writing to her mother saying:

“Mama darling! I really want to see Him. I wish him and his children all the best, and send Him my best regards, and all his family. I saw him last night, and I was very happy, tell] him please, my dear Mama…To my Mama from Anastasia”

“Thank you, Mama darling. Tell Anya that I send him my regards. Mama, what is his name? I don't Know My Friend's name is, and I love him so much more than can tell you. Anastasia”

Their relationship with Rasputin remained close throughout his life, various visits and letters, Alexei getting hurt and Rasputin writing or saying calming words and sharing aspects of religion. He remained very close to the family until his death, committed by Romanov hands, and they always remembered him as a close friend and confidant.

There was no love or romance between Rasputin and the “Russian Queen” as the tales tell. He was a friend and a tool to help soothe Alexei, her youngest child. A theory historians have, one that I agree with, is that Rasputin didn’t miraculously heal Alexei, his presence deeply calmed and set Alexandra at peace and because of that, Alexei got calmer because seeing a parental figure stressed while you are in pain doesn’t help you get better does it?

[chibishortdeath]

So I just found out I’m the first person to post about a specific character on tumblr and that’s pretty cool— anyway you’re all forced to know what Modulus is now :)

What is Modulus? A combiner and… nonexistent! He’s not real! He doesn’t happen in any continuity and only exists as a suggestion in an instruction manual for some reason! Who knows why they did that 💀💀💀, but it looks cool and is convenient for fanfiction reasons, so I’m not complaining!

This weirdo is truly something lol. There’s like uh absolutely no information about Modulus besides what’s on the wiki, so everything else is I guess just up to you then X,,,,,D. Which is where me being hyperfixated on transformers comes in— This guy justifies a lot of ideas I already had lol.

If I do ever actually manage to write anything I’ll be putting it on here cause I don’t have anywhere else to post fanfic d(^^ ). It’ll probs end up just screenshots of my notes lmaooooooo— unfortunately this guy is later story stuff and you’d have to read through my OCs and other arcs first to get there, all of which I have not finished writing whoops 💀💀💀 haha anyway—

Now you know Modulus is a thing. :)

[purgatorystreetmedia]

PURGATORY STREET INFORMATION

Q: What is Purgatory Street? A: Purgatory Street is an OC project created by @/leorathan (sadly doesn't have Tumblr) and @beowulfzz, revolving around a cast of characters dealing with situations ranging from sentient man-eating plants to stopping catastrophic events to crazy unresolved trauma that absolutely no one knew about! Q: What genre does Purgatory Street fall under? A: Purgatory Street mainly falls under horror, fantasy, paranormal, and action-adventure genres, though we've never really considered it that much. Q: Will Purgatory Street have its own tags? A: Yes, so it's easier for us to keep track of posts, and so it's easier for you to find posts of specific characters! CW: Purgatory Street may feature topics such as murder, unresolved trauma, abandonment, and other topics. This isn't suitable for younger audiences, and we would appreciate it if no one under 14 followed this account. But of course, we can't stop you. Please just be aware that this may feature dark subjects.

Important/Main PS characters include: Bubble (14, any/all pronouns) Jamie (14, she/her pronouns) Moonlight (14, he/him pronouns) Eagle (14, he/him pronouns) Rosy (27, she/her pronouns) Leo (40-50, he/him pronouns)

[littledisgustingart]

🔥 PRINT STORE IS OPEN! 🔥

Hello dears! I've opened an InPrint, so you can now support me by buying prints of my works!

I'm running a 10% discount on all of 'em as a warm welcoming, and shipping worldwide is FREE until the end of the weekend!

Check it out here!

Big sappy jayvik print alert.

And big pathetic Arcane & BG3 men and gorgeous women alert.

And silly animal prints alert, of course 🙏

[grey-sorcery]

[Title: Cleromancy: Bone & Dice Divination]

Related Reading

Divination: An Introduction Correspondences Finding Balance: Spirituality & Critical Thought Bias & Witchcraft Spirit Work: First Steps Spellcasting Basics

Grey-Sorcery's Masterpost

Introduction

Cleromancy, the practice of divination through the casting of lots or objects, has ancient roots that span across various cultures and epochs. This esoteric art form operates on the principle that chance events can yield meaningful insights into personal queries or broader existential questions. Throughout history, cleromancy has served diverse purposes, from guiding decision-making to uncovering hidden truths about the self and the universe. The tools used in this practice—ranging from bones and sticks to stones and seeds—each carry unique significance, shaping the divinatory process.

Historical Contexts of Cleromancy

Ancient Practices

Mesopotamian and Babylonian societies were among the earliest to document ritualistic practices linked to divination and spirituality. In these ancient civilizations, practitioners, often referred to as “baru” (diviners), would interpret the will of the gods through various means, such as hepatoscopy (reading the liver of a sacrificed animal) and extispicy (examining the entrails of sacrificed animals). The Babylonian Enuma Anu Enlil texts, a series of clay tablets, detail these divinatory practices, emphasizing their importance in both personal and state matters. This integration of ritual and divination laid the groundwork for later spiritual practices in the region. This use of Divination laid the groundwork for future divinatory practices.

Yi Jing (westernized as "I-Ching") (c. 1600–1046 BCE)

The Yi Jing’s earliest form can be found in oracle bone inscriptions from the Shang dynasty , where diviners would inscribe questions on bones or turtle shells and apply heat until they cracked. The patterns of these cracks were interpreted to provide guidance or foretell outcomes. Over time, these divinatory practices were codified into a text.

By the time of the Western Zhou dynasty (c. 1046–771 BCE), the I Ching had taken on its more recognizable form, consisting of hexagrams (six-line figures) that represent different states and conditions. The text consists of 64 hexagrams, each accompanied by commentary, which reflects philosophical concepts such as yin and yang, the interplay of opposites, and the cyclical nature of life.

Ancient Greece (c. 800 BCE - 200 CE)

In ancient Greece, divination was integral to religion, politics, and daily life, with cleromancy appearing in multiple forms. One of the earliest Greek forms of cleromancy was astragalomancy, or the casting of knucklebones (often from sheep or goats), to discern future events. The bones were thrown, and their positions were interpreted based on specific symbolic meanings assigned to each side or face. Astragalomancy evolved into the use of dice, where each roll was understood as divinely influenced.

Additionally, the Greek practice of sortition, which involved drawing lots from a container to determine divine will, was widespread. Sortition was used not only in religious contexts but also for political purposes, such as in the selection of officials. In some cases, olive leaves, stones, or pieces of pottery would be inscribed with names or symbols and drawn randomly. This method underscored the belief that even randomness could reflect the will of the gods.

Medieval and Renaissance Practices

Early Germanic Use of Runes (ca. 150-500 CE)

The oldest known runic inscriptions date back to around 150 CE. The Elder Futhark, the earliest runic alphabet used by Germanic tribes, consists of 24 characters and is found on various objects such as weapons, amulets, and stones. These inscriptions often had a ritual or magical purpose, suggesting that from early on, the runes held spiritual significance beyond their use as a writing system.

It is believed that the Germanic tribes, particularly the Goths, used runes in divinatory practices during the early centuries of the Common Era. The Roman historian Tacitus, writing around 98 CE in Germania, describes how the Germanic tribes would cast lots made from carved wooden slips (possibly inscribed with runes), interpreting the way they landed as messages from the gods. According to Tacitus:

"For divination and casting lots they have the highest regard. Their procedure is simple. They cut off a branch from a fruit-bearing tree and slice it into strips. These they distinguish by certain marks and throw them, completely at random, on to a white cloth. Then the priest of the state, if the question is a public one, or the father of the family, if it is private, prays to the gods and, gazing at the sky, picks up three of the strips, one at a time, and reads their meaning from the marks previously scored on them."

Tacitus’ description aligns with what we know about early cleromantic practices among Germanic tribes, though runic divination likely evolved into a more specialized form in later centuries.

Ifá in West Africa (ca. 8th Century CE)

The roots of Ifá divination can be traced back to the Yoruba people of present-day Nigeria and Benin, likely emerging as early as the 8th century CE. The practice is centered on communication with the orishas, or spiritual entities, and the diviner (called a babalawo or "father of mysteries") plays a critical role in interpreting divine will through the casting of sacred objects, usually palm nuts or cowrie shells.

Ifá divination involves the casting of 16 palm nuts or cowrie shells, which generate specific patterns that correspond to verses in the Odu Ifá, the sacred text of the Ifá religion. The Odu Ifá contains a vast collection of oral literature, including myths, proverbs, and prayers, which the babalawo uses to interpret the client’s query. Each configuration of the palm nuts or shells is associated with one of the 256 odu (divinatory figures), which hold specific meanings and are linked to different aspects of life, such as health, relationships, and spiritual guidance.

The Ifá system became the foundation for many other African divinatory systems, influencing the divinatory practices of neighboring ethnic groups, such as the Fon people of Benin, who practice Fa divination, a similar form of cleromancy.

Geomancy (ca. 7th Century)

Geomancy, a highly structured form of cleromancy, is believed to have originated in the deserts of North Africa or the Arabian Peninsula, likely among Berber or Bedouin peoples. The word “geomancy” comes from the Greek geo (earth) and manteia (divination), meaning "divination by the earth." However, its original Arabic name, ilm al-raml (the science of the sand), suggests its origins as a method of casting and interpreting patterns made in the sand.

Islamic Geomancy (8th-13th centuries)

During the Islamic Golden Age, geomancy was refined and systematized into a detailed form of divination. Islamic scholars integrated numerology, astrology, and the philosophical traditions of Greek thought into their practices. Using dots or lines drawn in the sand, geomancers would generate a series of 16 figures, which were interpreted based on a complex set of rules involving astrology and cosmic correspondences.

Geomancy was highly respected in the Islamic world, where it was considered a legitimate science. Islamic geomancers like Al-Kindi and Al-Farabi wrote extensively on the subject, codifying its principles and ensuring its spread throughout the Mediterranean, including into Europe. These writings formed the basis for later geomantic traditions in Europe, where the practice became popular during the Middle Ages.

European Geomancy (12th-13th Century)

Geomancy made its way into Europe during the Middle Ages, likely through Spain and Sicily, regions where Islamic and Christian cultures mingled. Latin translations of Arabic texts on geomancy became widely available, and European scholars like Hugh of Santalla and Gerard of Cremona further refined the art. By the 12th century, geomancy was well-established in Europe, where it became known as the "art of the earth."

Unlike other forms of divination, geomancy did not require complicated tools or astronomical calculations, making it accessible to a wide audience. It was often practiced by both learned scholars and laypeople. During the Renaissance, geomancy was considered one of the seven forbidden arts, alongside astrology and necromancy, though it continued to be practiced by those seeking insight into political, personal, and spiritual matters. Renaissance occultists, including Cornelius Agrippa, wrote about geomancy in their works, further embedding it into the Western esoteric tradition.

Transatlantic Slave Trade and the Spread of Ifá (16th-19th Centuries)

With the transatlantic slave trade from the 16th to the 19th centuries, African religious traditions, including Ifá divination, were brought to the Americas by enslaved Africans. In Brazil, where a significant number of Yoruba people were forcibly relocated, Ifá was preserved and incorporated into the emerging Afro-Brazilian religion of Candomblé.

Ifá in Brazil and Candomblé (18th-19th Centuries)

In Brazil, Ifá divination became an essential aspect of Candomblé, which blends Yoruba beliefs with elements of Catholicism and indigenous Brazilian spirituality. The divinatory practice was maintained by Afro-Brazilian priests, known as babalorixás (male priests) and ialorixás (female priests), who performed Ifá-style readings using cowrie shells, a technique known as merindilogun.

The use of cowrie shells in Afro-Brazilian divination systems is closely related to Ifá, though certain adaptations occurred due to the blending of different African spiritual traditions in Brazil. The cowrie shells are cast in a way that generates patterns, which are interpreted by the priest in connection with the Odu Ifá or related Candomblé spiritual texts.

Candomblé grew throughout the 18th and 19th centuries, particularly in the state of Bahia, where Afro-Brazilian religious practices were preserved despite colonial efforts to suppress them. By the 19th century, the religion and its divinatory practices had become an integral part of Afro-Brazilian culture, and today, they continue to be practiced by millions of people in Brazil.

Santería and Afro-Cuban Divination (18th-19th Centuries)

A parallel development occurred in Cuba, where the Yoruba-based religion of Santería (or Regla de Ocha) developed, incorporating Ifá divination and the use of cowrie shells. Santería emerged in the 18th and 19th centuries as enslaved Africans in Cuba blended their spiritual practices with Catholicism. In Santería, diviners known as babalawos or santerosuse a system similar to Ifá to communicate with the orishas, seeking guidance on health, personal relationships, and spiritual matters.

Types of Objects Used

Bones and Sticks

Bones and sticks represent one of the oldest and most accessible forms of divination tools, deeply tied to their ubiquity in the natural environment. These items are often chosen for their varied shapes and textures, which allow for an array of interpretative possibilities. Bones, particularly those of small animals, may be selected for their durability and the unique characteristics they acquire through natural weathering or through specific preparation methods such as cleaning or carving. Sticks, on the other hand, may come from different species of trees, with variations in bark, length, and curvature serving as subtle signifiers within the practice.

The utility of bones and sticks lies in their simplicity and versatility. Their physical properties—whether straight, twisted, or fractured—can provide direct visual and tactile cues during a casting. For example, a bone with a sharp angle or curvature may prompt the practitioner to consider directional forces, while the texture of a stick might suggest either stability or the presence of external disturbances. Through these physical characteristics, a broad spectrum of meanings can be derived without relying on any specific cultural overlays.

Stones

In contemporary divinatory practices, stones serve as another widely used object due to their availability and the multitude of shapes and sizes they come in. The appeal of stones is often found in their permanence, as well as in their surface characteristics—whether rough or smooth, irregular or polished. The variety in color, density, and opacity found in different types of stones allows for a richer scope of interpretation, with attention often given to their weight and the sound they make when cast.

When stones are employed, the manner in which they land and interact with each other during casting becomes central to interpretation. Some practitioners might choose stones based on the aesthetic or tactile resonance they feel with a specific stone, but the focus remains primarily on their physical interaction in the casting process. This could involve examining patterns created by how the stones cluster or spread across the chosen casting surface. The distance between stones and their orientation may hold significance, depending on the diviner’s system of interpretation.

Seeds and Nuts

Seeds and nuts offer a unique category of divinatory objects due to their association with growth and potential. Their lightness and ability to roll or bounce during casting creates a dynamic method of reading that introduces an element of movement not found with heavier objects like bones or stones. Seeds can be chosen from a variety of plants, with the specific type of seed or nut often lending additional layers of interpretation. 

The trajectory, bounce, and eventual resting place of these objects can form the basis of interpretation. Practitioners might focus on the directionality of their motion, or how groups of seeds or nuts form patterns as they settle. These items are particularly useful for those seeking to incorporate a more kinetic dimension into their practice, as they often move further and in less predictable ways than heavier or more static objects. Additionally, their association with cycles of growth and change can serve as an interpretative axis, allowing for insights into processes of transformation and potentiality.

Other Types of Objects

Beyond the more commonly used materials, diviners might also incorporate a wide array of other objects into their practices. Small, everyday items such as buttons, shells, or pieces of glass can also be used, each contributing their own symbolic resonance. Buttons, for example, might suggest themes of connection or closure, while shells may speak to protection or the hidden depths beneath a surface. The eclectic nature of these objects means that their meanings are often determined by the individual diviner’s relationship with the object itself, rather than any intrinsic property of the material.

Casting Techniques

Simple Toss Method

The simplest and perhaps most intuitive casting method is the toss, wherein the objects are held in the hand or gathered in a container and thrown onto a surface. This method relies on the randomness of the toss to generate patterns that the practitioner can interpret. The diviner’s focus is on how the objects land—whether they cluster together, remain isolated, or overlap—and what these configurations might suggest in terms of the query or situation at hand.

Using Casting Tools

For those who prefer a more controlled approach, various tools can be employed to assist with the casting process. Cups, tubes, or even dice towers can be used to direct the fall of objects, ensuring a more regulated distribution during the casting. These tools provide a level of precision that the simple toss does not, allowing the diviner to control the dispersion of the objects while still allowing for chance to play its role. Some may feel that using such tools introduces a necessary balance between randomness and structure, enhancing the interpretative process by providing a consistent starting point for each reading.

Complex Pattern Casting

In more advanced forms of divination, the position and interaction of the cast objects become critical. Complex pattern casting looks at factors such as whether objects make contact with one another, overlap, or land in specific orientations. For example, two stones touching might suggest convergence or unity, while a seed landing upright could indicate stability or resilience. The diviner must then interpret these spatial relationships, often finding nuanced meaning in the way the objects interact on the casting surface. This method requires a deeper understanding of symbolism and is favored by more experienced practitioners who seek a more layered reading.

This technique is particularly useful for diviners who seek a balance between spontaneity and structure, as it allows for a degree of unpredictability while still maintaining a framework for interpretation. The position of the objects within the designated areas becomes a focal point for analysis, offering more detailed insights based on their relative placement.

Use of Casting Surfaces

The surface upon which objects are cast plays a significant role in shaping the reading. Diviners may use cloths, boards, or other surfaces marked with symbols or grids that correspond to different areas of life or elements of the self. For example, a board marked with a four-quadrant system might designate different domains—emotional, physical, intellectual, and spiritual—and the location of objects within these quadrants helps guide the reading.

Symbolism and Interpretation

Common Symbols and Their Meanings

Common symbols emerge organically from the objects used. For instance, a broken bone might symbolize disruption or fragmentation, while a smooth stone could suggest continuity or stability. These interpretations depend largely on the diviner’s system of symbolism, which can be personal or based on broader associations. Disclaimer: The following list of common correspondences is intended for inspiration purposes only. Correspondences may vary based on cultural context, personal experiences, and the specific cleromancy systems employed. Practitioners are encouraged to explore and adapt these meanings according to their individual beliefs and interpretations.

Bone: Transition, connection to ancestry, strength ; fragmentation, loss, decay   

Stick: Directionality, stability, grounding ; rigidity, inflexibility, barriers   

Stone: Endurance, reliability, permanence ; coldness, stagnation, obstinacy   

Seed: Potential, growth, renewal ; vulnerability, uncertainty, chaos   

Nut: Fertility, protection, sustenance ; hardness, concealment, difficulty in access   

Shell: Shelter, emotional depth, intuition ; isolation, fragility, superficiality   

Button: Connection, unity, completion ; closure, restriction, limitation   

Leaf: Transformation, life cycles, rejuvenation ; impermanence, fragility, loss   

Feather: Freedom, lightness, spirituality ; detachment, lack of grounding, impermanence   

Coin: Prosperity, material wealth, luck ; greed, loss, superficiality   

Glass: Clarity, insight, reflection ; fragility, distortion, breakability   

String: Connection, continuity, binding ; entanglement, restriction, tension   

Key: Access, opportunity, solutions ; secrets, barriers, confinement   

Mirror: Self-reflection, truth, clarity ; illusion, deception, superficiality   

Flower: Beauty, growth, love ; ephemerality, impermanence, superficiality   

Wood: Stability, grounding, nourishment ; decay, rot, obstruction   

Stone Sphere: Wholeness, unity, completion ; confinement, lack of growth, stagnation   

Candle: Light, guidance, hope ; danger, destruction, fragility   

Wool: Warmth, comfort, protection ; heaviness, limitation, entrapment   

Pine Cone: Potential, renewal, resilience ; rigidity, closed-off nature, unresponsiveness   

Chalice: Abundance, emotional fulfillment, nurturing ; excess, waste, emotional overwhelm   

Bowl: Containment, safety, balance ; emptiness, lack, deprivation   

Rock Crystal: Clarity, purity, heightened perception ; coldness, detachment, aloofness   

Dice: Chance, uncertainty, opportunity ; randomness, chaos, unpredictability   

Anchor: Stability, grounding, safety ; heaviness, being weighed down, stagnation   

Variations in Interpretation

Interpretation varies significantly between practitioners. One person might interpret the same object differently based on personal experience or the context of the reading. This fluidity of meaning is a key aspect of contemporary practice, where individual intuition plays a large role in shaping interpretations. The dynamic interplay between object, context, and personal resonance ensures that each reading is uniquely tailored to the practitioner. 

Role of the Diviner in Interpretation

The diviner serves as the intermediary between the cast objects and the querent, weaving together the symbols into a coherent narrative. Their ability to read the patterns, variations, and nuances of each cast is central to providing meaningful insights. While each system provides a framework of meanings and correspondences, diviners often bring their unique perspectives, experiences, and intuitions into the practice. This individuality allows for an array of interpretations, as personal insights may resonate more deeply than strict adherence to predefined rules. A diviner might find significance in symbols that diverge from traditional meanings, fostering a more personalized and resonant reading. 

Cleromancy Mat Design Examples

This mat is best used for tools for generalized readings. The mat itself doesn't command control of interpretation, rather it works with pieces and the diviner to generate unique interpretations for each throw.

This mat is best for diviners who want to do a lot of personal interpretations, since it doesn't provide much in the way of meaning. There are only 8 quadrants that can have assigned correspondences. With this mat, interpretation is derived mostly from the pieces, how they interact, and the discretion of the diviner.

This mat contains a lot of information. The pieces used on this mat should be more limited in terms of the complexity of their correspondences. This mat will assign more meaning to each interaction than the prior two mats. 

Creating your own method

When creating your own cleromancy system, the first critical step involves establishing a solid foundation. This foundation should be rooted in a conceptual framework that aligns with your overarching worldview or philosophical beliefs. Begin by determining the central theme or principle that will guide your practice. Whether the aim is self-reflection, decision-making, spell-verification, or something more abstract, having a clear focus will provide structure and coherence to your system. Defining this framework allows you to cultivate a personal connection with the tool and ensures that each step, symbol, and material used is deliberate and meaningful.

Once the conceptual framework is in place, you can move forward with selecting symbols and materials that resonate with you. The items you choose—whether stones, tokens, or other objects—should evoke a particular significance or meaning. The materials may carry personal associations, cultural relevance, or simply evoke a sense of utility for the task at hand. This personal resonance strengthens your connection to the practice and deepens the interpretive potential of the cleromancy system.

The next step is to design a coherent divination method, beginning with the assignment of symbols or values to your chosen items. This process involves either creating new symbols or adapting existing ones from other systems. Each symbol should hold a distinct meaning, and it is important to establish a clear framework for interpreting them. Whether this involves numerical values, positions relative to each other, or some other organizing principle, having an established interpretive guide will enhance the accuracy and clarity of your readings. The method should be fluid enough to allow growth but structured enough to provide consistency.

Casting techniques form the backbone of any cleromancy practice. The way in which materials are cast or arranged can significantly influence the interpretation of the results. Various casting techniques can be explored, from throwing or scattering the materials to laying them out methodically or randomizing their arrangement. Each technique carries its own nuances, and it is important to consider how the method of casting affects the overall energy or tone of the reading. This choice should complement the nature of the symbols and the guiding concept of your system.

After designing the method, the next phase involves developing guidelines for interpreting the outcomes. The structure for interpretation can be fixed, fluid, or context-dependent, depending on your system’s needs. If your system involves interaction between symbols—such as when certain items land near each other or align in specific ways—these interactions may offer additional layers of meaning. It is essential to create a clear process for evaluating these outcomes, one that is both logical and intuitive, allowing for deeper insight as you gain experience.

Lastly, maintaining a record-keeping system is invaluable. Documentation allows you to track patterns and outcomes, providing the opportunity to analyze how interpretations evolve over time. This, in turn, helps refine the system. By systematically recording results, you can observe recurring themes or symbols and adjust your framework accordingly, ensuring that your cleromancy practice remains dynamic and adaptive.

Through continual testing and refinement, your cleromancy system will grow into a robust tool for exploration and insight. Conduct multiple readings to test its efficacy, and make adjustments based on your observations. Over time, with regular integration into your personal practice, you will gain greater clarity, leading to deeper understanding and a more nuanced approach to the art of cleromancy.

Scientific and Mathematical Correlations to Bear in Mind in Order to Avoid Statistical Bias in Tool Design

Probability and Randomness: Statistics, Chaos Theory, Complexity Science, and Determinism

Randomness, as it pertains to divinatory tools such as cleromancy, is a nuanced concept grounded in mathematical theories of probability and chaos. When one casts dice, bones, or any similar objects in cleromancy practice, the assumption is that the results are left to chance or fate. However, from a mathematical perspective, "randomness" is a much more rigorous concept.

In the framework of probability theory, randomness refers to the outcome of events that cannot be predicted with certainty, even if all preceding conditions are known. In cleromancy practices, the user often interprets each cast as holding significance. This belief system interacts with randomness in complex ways, with each cast seen as uniquely meaningful. Despite this, mathematical understanding shows that, given enough trials, patterns in randomness tend to adhere to statistical laws.

Chaos theory, which explores systems highly sensitive to initial conditions, provides another layer of understanding for cleromancy tools. Even a minuscule difference in the force applied to a set of dice or the exact angle at which lots are thrown can result in radically different outcomes. Thus, while cleromancy acts may appear chaotic on the surface, they are mathematically deterministic—each outcome is a function of initial conditions and forces applied to the system.

Mathematical Models of Casting Outcomes

Mathematical models allow us to create a structured approach to understanding the casting of lots or dice. In probability theory, each possible outcome of a dice roll or lot casting can be assigned a numerical probability based on the total number of possible outcomes. For example, when casting a single six-sided die, each face has a 1/6 probability of appearing. These models are useful not only for understanding how frequently certain results occur but also for recognizing when certain patterns or clusters of outcomes deviate from what we would expect in a random distribution.

Complexity science, a field that studies how small interactions among components can result in emergent behaviors, provides another lens through which to view casting outcomes. Cleromancy operates within a complex system of inputs—ritualistic actions, environmental conditions, and the physical properties of the objects being cast—that lead to a seemingly infinite number of possible interactions. These interactions may produce clusters of outcomes that appear to follow discernible patterns, which, upon closer examination, may be random artifacts of a complex system rather than evidence of supernatural influence.

Understanding the mathematical properties of these tools is essential in minimizing confirmation bias and ensuring that tools are designed in ways that do not inadvertently favor particular outcomes over others.

Psychological Perspectives

While mathematical tools offer a way to predict outcomes probabilistically, cognitive biases significantly shape how individuals perceive and interpret the results of cleromancy or divinatory practices. One of the most prevalent biases in such practices is the "confirmation bias," where individuals unconsciously prioritize information that aligns with their pre-existing beliefs or expectations. In a divinatory context, a practitioner might focus on outcomes that seem relevant to their question or life situation while disregarding those that do not fit the narrative they seek to construct.

The "gambler's fallacy" is another psychological pitfall worth considering in these contexts. This bias leads people to believe that past outcomes will influence future random events, such as assuming that if a certain result has not occurred in several rolls, it is "due" to appear in the next cast. In reality, each casting of dice or lots is independent, with the probability of each outcome remaining constant regardless of previous events. Failure to account for this fallacy can lead to misinterpretation of divinatory outcomes, imbuing them with a false sense of significance.

To mitigate the effects of these cognitive biases, it is vital to approach the design and interpretation of divinatory tools with an understanding of psychological tendencies. A mathematically balanced system of casting outcomes can help minimize the tendency to read too much into any particular result. Additionally, consistent training or critical self-reflection can help practitioners recognize when their judgments may be clouded by bias.

Statistical Analysis with Dice as an Example

Analyzing Patterns and Frequencies within Mathematical Dimensions

Statistical analysis can provide insight into the distribution of casting outcomes, especially in dice-based divination. When conducting repeated trials of dice rolls, the results can be plotted to visualize the distribution of outcomes. In an ideal random system, each outcome would occur with roughly the same frequency over time. For instance, in a six-sided die, each number should appear approximately 1/6th of the time across a large number of rolls.

By analyzing the frequency of different outcomes, one can determine whether the tool is generating results consistent with random distributions or whether there are biases in the casting method. If certain outcomes appear significantly more or less often than expected, this may indicate a problem with the tool's design, such as uneven weight distribution in dice or flaws in the casting process. Such analysis is essential to avoid statistical bias and ensure fairness in the interpretation of results.

Comparing Outcomes with “Random” Distributions

Once patterns have been analyzed, comparing the actual outcomes of dice rolls or lot castings with theoretical random distributions can reveal important insights. For instance, a statistical technique such as the chi-square test can be employed to compare observed frequencies with expected frequencies. If there is a significant difference, it may suggest that the tool is not functioning in a truly random way.

This comparison helps ensure that the tool adheres to mathematical principles of probability, thus providing a baseline of fairness and accuracy in its use. Additionally, it guards against the possibility of subconscious manipulation of outcomes, where practitioners may—unintentionally or not—alter the casting process in ways that favor certain results. In conclusion, a strong grounding in statistical principles is essential for the design and use of divinatory tools, ensuring that they operate in ways that avoid unintentional biases and misinterpretations.

Patreon shoutouts

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Cosmicaquamarie

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This post was reviewed and edited for easier reading by ChatGPT.

[chichirid]

big informational post on israel & palestine

before i start, i want to say that the end goal is not defeating one side or the other. we want peace, for both nations to exist together. there are innocent and good people in both israel and palestine. here is a thread with basic information on the conflict.

trigger warning: mentions of amputations, chemical weapons, burning, general death and blood.

right now, there is a genocide happening in palestine. israel is using banned weapons that may not seem illegal to use, but are being used to kill innocent people who had no intention of joining nor fueling the war. this is a war crime.

DIME (Dense Inert Metal Explosive) are explosives made to release shrapnel that amputates the skin. this leads to limb loss & bleeding out. even after the limbs are amputated, victims have a high chance of dying from cancer as DIMEs were found to have carcinogenic tungsten.

White phosphorus bombs. I cannot explain in words how horrifyingly inhumane these are. White phosphorus can be released indoors as smoke, and contaminate water. They cause 4th & 5th degree burns, indefinitely burning as they go up to 1499 degrees Fahrenheit (815 degrees celcius) and the human body can only handle up to 122 degrees Fahrenheit (50 degrees celcius). White phosphorus is also highly flammable, and can be reignited during treatment. here is a thread with more information.

Armor piercing bombs. As implied by the name, they can penetrate metal and travel long distances. Armor piercing bombs are designed to pierce through bunkers, warships, and heavily enforced targets. They can easily destroy buildings and famously sunk the USS Arizona in 1941.

boycotting

the main companies to boycott because they support Israel are Mcdonalds, Starbucks and Disney Plus. my main advice is to PIRATE ALL YOUR MOVIES! here is a twitter thread on all starbucks recipes, and a helpful thread on how to safely pirate content.

blumhouse, the studio behind, FNAF MOVIE supports Israel. pirate the movie if you want to watch it.

Google also supports Israel, and recently removed Palestine from Google maps. some Google alternatives are

Lingual search

ecosia

duckduckgo - however there is speculation of data tracking.

here is an INCREDIBLY helpful google docs of all windows browsers that they could find made by @friendofthecrows

how to help?

talk about what's happening. tell a friend, post about it, repost information. if you feel the anger and resentment that this is happening across the world, don't lose your passion. you CAN make a difference. you are not only "one person". there are thousands of people fighting for peace. feel passionate, and keep fighting.

donate to charities, if you can. here is a thread of trustworthy charities to donate to. if you cannot afford to, arab.org generates web revenue that is donated to Palestine. clicking every day can support freedom, for free. no registration nor credit card information is needed.

[budgie-city]

"Budgie City" — how is it organized and what is the story about?

Hello, I'm glad you decided to read my lore article about "Budgie City". The second article talks about where this world came from in general and how I came up with the idea. If you haven't read that article yet, you can check it out here. This article right here will tell you about the world itself and the society of the budgies, as well as describe the plot of the book in general terms. I remind you that the book is currently in the process of writing and will only be published when I have finished it completely.

Fundamentals of the "Budgie City" world

Yes, this is a story about talking animals, in particular, about birds! Set in a world much more wild than our own, filled with lush forests and untouched lands, you can meet the wild variety of birds (the story focuses on parrots though) you may know from all across the globe. From Australian (Cockatoos, Cockatiels, Grass parrots, etc.), African (Lovebirds, Ring-necked parakeets, Grey parrots), and South American parrots (Macaws, Amazons, Short-tailed parrots) to Weavers, Sunbirds, and occasionally even birds-of-paradise - you may find a broad spectrum of non-predatory birds residing right here.

But, of course, the bulk of the population of Budgie City, the main setting of the story, consists of colorful budgies. The city is essentially a large colony that has developed enough to turn into a complex system that depends not only on internal organization, but also on foreign trading. Trading between colonies in their world is based on barter, though inside cities there are local currencies — in most cases they are not metal coins, since metal is a rare and heavy material for birds, but they have their own kind of money equivalent.

The only species that has mastered metallurgy are African Grey parrots. Their colonies settle near volcanoes, and they are one of the only birds strong enough to handle such heavy materials. Therefore, metal is the main trading resource for them.

To show you what other species living in the city have to offer, I have this small excerpt from the first chapter that summarizes this quite concisely:

"Large parrots, due to their large carrying capacity, could easily transport quite bulky baskets with all kinds of food or raw materials, therefore, instead of independently transporting goods to other colonies, the budgies simply unloaded the goods large parrots brought, loaded them with their own and sent them back. Macaws most often brought figs and wild apples, cockatoos were famous for their special success in growing berries and gathering wild bee honey, grey parrots were the only birds in these forests who tamed metal... each species could provide something of its own to others, and as a result, all neighboring forests lived on trade links with each other. Budgies were skilled craftsmen in the manufacture of wooden utensils, and their chicks were believed to have the softest fluff among all parrots. So the fluff of the chicks that came down with molts was carefully collected, and other birds used it for the most delicate bedding in their own nests."

For such mentioned exchanges between the different birds, there is a trading base in the city — a group of large platforms on the trunk of the main baobab, where birds arriving with cargo are received, and cargo from the budgies is sent to other similar colonies.

The Budgie city stands "on seven baobabs" — an analogy to one well-known large city in our real world, which I came up with in 2014, and has since then remained more or less unchanged.

As can be understood from the scheme, the Seventh Baobab is considered the main one — it stands in the center and it is surrounded by the main structures that secure the functioning of the city. The remaining six baobabs are mostly residential. Instead of roads there are rope bridges connecting the structures to one another, which prove quite convenient in the case of carrying something around or to simply reduce the energy consumption that continuous flying demands. They start from the platforms on the baobabs, form multi-tiered intersections on the lower and branching trees standing between the baobabs, whereby, of course, this web converges on the seventh central one.

As for common areas, there are the market, the canteen, the baths (some are located on the Third baobab + the pool in the crown of the Seventh) and numerous interest clubs scattered throughout the city. For example, there are several board game clubs based in the crown of the Fifth Baobab, which the main characters tend to visit, especially Gesha and Gosha (since the two initially met at checkers).

Seventh Baobab concept art (artwork by me and @blackteaarts)

How did Budgie City come into being? Are there other cities in this universe?

Budgie City was founded by Phoenix. A bird whose species is unknown to anyone, so she is considered unique by the other residents. In addition to that no one knows her real age — she outlived those who helped her founding the city, outlived their children and their grandchildren, and so on. At this point no one is even trying to guess how old she is and where she came from. There were rumors about her, which had long become urban legends that every chick knows — they say she has magical abilities and can control fire. But there is no real evidence of this anywhere. In fact, no one living in the city has ever noticed anything supernatural about her — she is just a wise, kind bird with beautiful plumage, who treats every citizen like a mother treats her chick — with love and care.

Chroniclers often tell stories about how she herself was once raised among budgies and considers them part of her kind, and therefore decided to create a place where her sworn brethren can live in harmony and prosperity. Until then budgies had never lived in a colony this large before — usually they resided in rather small communities scattered many hundreds of square kilometers away from each other. Therefore Budgie City is the biggest known colony around. In number of citizens, it surpasses almost all others, which is why it is the center of attention of all the inhabitants of the surrounding forests.

Other parrots and some weavers live in a similar way. Small colonies have built their settlements right around the baobabs — in so-called suburbs, but similar formations exist in other places very far from the Budgie City as well.

What is the plot of the book?

I want to clarify that the book is currently in the process of writing in the form of a paper draft, and will be published only after the completion of the full work. Here I will give a brief description of the plot in general, without spoilers or delving into details, but so that you can have an idea of what this story is about.

In the peaceful and steady life of Budgie City — a life without any prerequisites ever before, there is a sudden turning point — Phoenix disappears. Moreover, she does not just go missing, but literally incinerates, leaving behind only one golden feather. In its entire history, the city had never had to change its mayor before, since Phoenix had ruled continuously since its foundation, so confusion and panic among the residents ensues. The so-called Royal Family, a circle of Phoenix's close advisers, who are direct descendants of the budgies who helped her founding this city, decide to hand over the reins to whom they deem the most responsible and emotionally resistant of them — Clementine and Jack.

But in a fit of desire to preserve their relationship with their son Fenya, who is slowly distancing from them, the couple, without putting it out as a question to the rest of the advisers first, use their new powers, and hand the reign to him. Subsequently, Fenya is now at the head of the city — an unstable, egocentric, arrogant yesterday-teenager. Having been partially raised by a zebra finch nanny, he sees more traits of finches in himself than those seen in other budgies. Therefore invites them to live in the city and he certainly does not go into details about why finches were never favored in the colonies of parakeets. Because there are good reasons for that... Finches are not just small and harmless birds, especially when there are a lot of them. And very soon the residents of the city will feel the effect of the appearances of the uncalled visitors…

In the midst of the ever growing chaos lives Gesha. A quiet florist who loves his routine filled with greenery and quiet pastime, who had always rested in a rather small circle of acquaintances, is forced to get out of his comfort zone and starts acting against the messy situation at hand. All because, it seems to him, that everyone around him prefers to believe and hope that everything will get fixed by itself, when this is clearly not the case. His friend Gosha is of the same opinion — although he often gets a bit carried away by his desire to administer justice (periodically turning into stupid brawls). He's just like that — against everything bad and for everything good, but tends to cross the line sometimes. Together they decide to create a secret society where they keep records of everything that upsets the citizens in this new reign, and try to find ways to solve these problems. While Gesha wants to deal with the situation through negotiations, Gosha, as usual, is more eager for a showdown.

Further down the line, Yasha appears — a native of a remote village who came from distant forests, where Budgie City is only considered a legend. He is a hopeless dreamer and a restless talker, but just as he is looking for a cozy home in this, for him, new and magnificent place, it is meanwhile literally bursting at the seams. Which soon forces Yasha to take off the metaphorical rose-colored glasses and, together with his new friends, face the harsh reality head-on.

Will the united citizens be able to solve the problem of the finch invasion and pacify the restless Fenya? Or maybe even bring Phoenix back? You will find it all out when the book is completed!

Huge thanks to @annchanorsomethin for helping with translation of this article!

[hyakinthou-naos]

Temples vs Shrines (+Altars)

While the terms "Temple" and "Shrine" are often used interchangeably, there are distinct differences that should be understood and acknowledged.

Temple

Purpose: A formal place of worship where communal religious activities, rituals, and ceremonies are held. Temples are often dedicated to multiple deities, which is usually what separates them from Shrines. However, both Temples and Shrines can be dedicated to one or more deities. [A Temple is akin to a Church] Services: Regular services, ceremonies, and festivals are conducted in temples, often led by priests or religious leaders. Examples: Mandirs (Hindu Temples), Pagodas (Buddhist Temples) and Naós/Naoí (Ancient Greek Temples).

Shrine

Purpose: A shrine is an informal, more personal place of worship. While this is not always the case, Shrines are typically dedicated to one specific deity, saint, or spiritual figure. It is a place for individual devotion and prayer, or for community devotion and prayer in small groups or individually. [A Shrine is akin to an altar*] Services: While some shrines may have occasional ceremonies or festivals, they are primarily places for personal/individual devotion - rather than large communal worship. Shrines typically only function as a place of worship, and do not offer formal services or ceremonies. Examples: Home Shrines, Outdoor Shrines, and Shrines to Saints (Catholic).

*Altar

"If a Shrine is akin to an Altar, then what is the difference?"

A Shrine is a structure, space, or area that exists soley for the purpose of prayer and devotion - meanwhile an Altar acts as a workspace for magic and ritual alongside prayer and devotional acts.

[irondadmadlads]

i don't see anything in your pinned about this, so is it okay if people use your prompts? and if so, how would you prefer to be credited? :D

Is it okay? I am begging you to use my prompts! Please, I want to read the fics but I do not want to write them! That’s why I run the prompts blog! 😂

As for credit, if it’s posted on tumblr just @ me! If it’s on Ao3, drop my blog name in the notes before or after the story (@irondadmadlads).

You can also credit my Ao3 (Chara426) but not as many people know me by that name.