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#‘and it’s mystical Force element’

rawliverandgoronspice · 7 months

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still trying to make antiphon happen before the end of the month and I made decent progress today, but it's legitimately the hardest piece of the "trilogy" in spite of of being less than 6k worth of words

there's just... so many layers to everything? it's at once a sort-of post breakup fic that explores the aftermath of a toxic relationship, but also asks what future is worth living for during the early stages of reddition/colonization, and also a continuation of the ongoing philosophical debate about how to free yourself from arbitrary divine and systemic violence, and also a window into Zelda/Sheik's shattered and Wisdom-pumped brain post OoT when she's all alone in the world, and also some setup....

It's A Lot to balance.

#thoughts #oot #ganondorf #saeruk #iftaah #zelda #sheik #gerudos #antiphon #unhallowed vespers #zelda/sheik gives me sooo much trouble #I'm trying to juggle eighty billion elements to her character at once #and saeruk is not much better honestly #like #yeah so my god-king that was sort of my lover??? kinda??? but also we resented each other immensely had a mystical breakdown #abandoned me and my people and then became genghis khan on crack + a demon and ascended from his mortal form to Something Else #and then was defeated and sealed into hell where he cannot ever truly die and must linger there #and now his victims are forcing us to open our borders and make amends due to his failures because he failed everything he attempted #and our ways of life will be changed forever and that starts by cursing his name out of our history forever #how do I feel about any of this!!!!#very normal breakup things to work through

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art-vortex · 6 months

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(via Coussin avec l'œuvre « "Enchanting Storm Sorceress" » de l'artiste Art-Vortex-fr)

#findyourthing #redbubble #Enchanting Storm Sorceress Mystic Fusion Fierce Energy Modern Allure Elemental Magic Style Command Forces Tempestuous Femme Fatale

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lunar-witches · 1 year

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10 Tips For the Beginner Witch

1. Don't rush into things:

Take the time to explore and learn about witchcraft, its traditions, and practices. Resist the urge to jump into more advanced practices or take on too much at once. Start small and build your knowledge and skills gradually.

2. Don't believe everything you read online:

Be mindful of where you get your information about witchcraft. Do thorough research and cross-check multiple sources before adopting any beliefs or practices. Remember that not everything online is reliable or accurate.

3. Don't compare yourself to others:

Each person's journey in witchcraft is unique, and it's important to focus on your own growth and path. Don't compare yourself to others or try to measure up to someone else's standards. Embrace your own journey and celebrate your progress.

4. Don't neglect self-care:

Witchcraft can be emotionally and mentally taxing, so prioritize self-care. Take time for yourself to recharge, meditate, and do things that bring you joy. Pay attention to your physical and emotional health and practice self-compassion.

5. Respect nature and the elements:

Witchcraft often involves working with the elements and nature, so treat them with respect. Avoid harming wildlife, littering, or engaging in practices that harm the environment. Build a relationship with nature and the elements based on respect, gratitude, and reciprocity.

6. Don't force your beliefs on others:

Witchcraft is a personal practice, and everyone has their own beliefs and experiences. Respect the beliefs of others, and don't try to force your own beliefs on anyone else. Be open-minded and respectful of different perspectives and approaches to witchcraft.

7. Ask for help:

The witchcraft community is a supportive and knowledgeable community. Don't hesitate to ask for help, guidance, or advice from more experienced practitioners. Join online forums or local groups to connect with others and learn from their experiences.

8. Balance your practice with mundane responsibilities:

Witchcraft can be a fulfilling and meaningful part of your life, but don't neglect your everyday responsibilities. Make sure to balance your practice with your job, family, and other obligations. Remember that taking care of yourself and your responsibilities is an important part of a healthy witchcraft practice.

9. Keep a grimoire or book of shadows:

Keeping a grimoire or book of shadows is a valuable tool for any beginner witch. It allows you to record your experiences, insights, and practices, and serves as a reference for your ongoing learning and development.

10. Embrace experimentation:

Witchcraft is a creative and experimental practice, so embrace your inner curiosity and explore different practices and techniques. Try out different forms of divination, herbalism, meditation, or ritual practices to find what resonates with you. Remember that experimentation and playfulness are key components of a healthy and dynamic witchcraft practice.

As you embark on your enchanting journey as a beginner witch, remember to take your time and savor each magical moment. Witchcraft is a unique and personal practice that is meant to be explored and experienced with joy and curiosity. Remember to approach your craft with wonder and gratitude for the beauty of nature and the elements. May your path be filled with enchantment and wonder as you explore the mystical world of witchcraft.

My Ko-Fi

#witchcraft #witches #baby witch #beginner witch #witch tips #baby witch tips #beginner witch tips #magick #witchblr #witches of tumblr #ref #beginner witch resource #witchy

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coven-of-genesis · 7 months

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Different magical element meanings

Magical elements are a common concept in various cultures and fantasy settings. They typically represent fundamental forces or energies that can be harnessed for mystical purposes.

Here are some of the commonly recognized magical elements:

1. Earth: Often associated with stability, grounding, and the physical world. It encompasses concepts like stone, soil, plants, and minerals.

2. Air: Representing intellect, communication, and freedom. Air magic pertains to the element of wind, breeze, and the unseen forces around us.

3. Fire: Symbolising transformation, passion, and energy. Fire magic is connected to flames, heat, and the spark of life.

4. Water: Signifying emotions, intuition, and adaptability. Water magic relates to rivers, oceans, rain, and the flow of energies.

5. Spirit (or Aether): Sometimes considered a fifth element, representing the divine or spiritual essence that connects all things. It's the bridge between the material and the ethereal.

6. Light: Often associated with purity, illumination, and enlightenment. Light magic embodies concepts of clarity, truth, and goodness.

7. Darkness (or Shadow): Representing mystery, the subconscious, and the unknown. Dark magic encompasses hidden knowledge, mystery, and the depths of the human psyche.

8. Metal: Less common but occasionally included, metal magic focuses on concepts like strength, structure, and transformation.

9. Ice: In some traditions, ice is treated as a distinct element. It embodies cold, stillness, and the power of preservation.

10. Electricity (or Lightning): This represents energy and power, often associated with speed and sudden change.

Remember, the interpretation and inclusion of these elements can vary widely depending on the culture, belief system, or fictional universe in question. Some systems may include additional elements or have unique perspectives on the traditional ones.

#witchblr #witchcore #witchcraft #witchlife #white witch #beginner witch #witch tips #grimoire #green witch #spirituality #the elements #magical elements #book of shadows

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sensualnoiree · 2 months

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astro notes: venus ♾

Venus, in both alchemical and esoteric traditions, holds profound significance as one of the classical planets. Its symbolism extends far beyond its astronomical presence, delving into realms of love, beauty, balance, and transformation.

Venus is actually much more than just the planet of love and beauty; it's considered the embodiment of the soul's essence. Venus represents the substance of the soul, the harmony of beauty, and the talent for art. It symbolizes grace, intelligence in proportion and rhythm, and the principle of "relatedness."

This relatedness is crucial, as it's the expression of the soul of the world and the feminine aspect of Divinity. Venus acts as a vibratory field that resonates between different aspects of existence—between individuals ("me" and "you"), between the ego and the soul, and even between the unit and the universe.

When this resonance is ignited, it sparks love and reveals the soul's fire. This essence of Venus is always present, like an awaitingness for mutual "relevance" to emerge between seemingly indifferent parts of life. This relevance can manifest in various ways, such as when social interactions transform into genuine connections, when artistic endeavors become infused with deep feeling, or when nature's beauty evokes a profound response.

Venus symbolizes a latent field and flow of relatedness that permeates the fabric of the world. This concept is often symbolized by the infinity symbol (∞), which represents the structure of the Ajna center ruled by Venus, or by the number 8, associated with the soul principle and the Christ consciousness. This symbol of infinity reflects how the universe's life of relationship is the substance of its relative infinity.

The pentagram, or five-pointed star, also has deep symbolic significance in various esoteric traditions, including alchemy, astrology, and mysticism. Each point of the star represents one of the four elements – earth, air, fire, and water – with the fifth point symbolizing spirit or ether, the quintessence that unites the elements. The pentagram is often used as a symbol of protection, balance, and spiritual transformation.

Earth: Represents stability, materiality, and the physical realm.

Air: Symbolizes intellect, communication, and the realm of thought.

Fire: Represents passion, creativity, and transformation.

Water: Symbolizes emotions, intuition, and the subconscious.

The fifth point, symbolizing spirit or ether, represents the divine spark within each individual and the higher spiritual aspects that transcend the material world. Venus, as the harmonizing force, is associated with the pentagram because it represents the balance and unity of these elements. Venus's influence helps to bring these elements into equilibrium, fostering spiritual growth and transformation.

Taurus (April 20 - May 20): Venus is the ruling planet of Taurus, emphasizing qualities such as sensuality, stability, and material abundance. Taurus is associated with the earth element, reflecting Venus's connection to the physical world and its pleasures. Under Venus's influence, Taurus seeks comfort, security, and beauty in life, often valuing stability and the finer things in life.

Libra (September 23 - October 22): Venus is also the ruling planet of Libra, but here its influence is more focused on partnerships, diplomacy, and aesthetic pursuits. Libra is an air sign, reflecting Venus's influence on intellectual pursuits, social interactions, and the arts. Libra seeks balance, harmony, and beauty in relationships and the world around them, often valuing fairness, cooperation, and justice.

In both Taurus and Libra, Venus's influence enriches the symbolism of the pentagram, emphasizing the importance of balance, harmony, and transformation in both the material and spiritual realms. Venus's role as a ruling planet further highlights its significance in astrology and its impact on the human experience.

follow for more astro insights like this and support me over on yt @quenysefields or instagram sensualnoiree

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joannasteez · 3 months

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sing, just for me

pairing | roman reigns x black reader warning | explicit content, including descriptions of sex. minors please do not interact. if you count flirting as fluff then sure i guess, theres some of that. supernatural element, so yes, its an AU!!! word count | 5.8k ... quiet nights of quiet stars, quiet chords from my guitar, floating on the silence that surrounds us... lyrics in red (corcovado by stan getz and astrud gilberto)

the strum of a spanish guitar and a sweeping staccato, these quaint bristling eruptions that pulse the room to life with a softened awakening. long aged spirits and slow to sip lips. abstract mosaic tilings glimmering with the paling yellow of lowlights. and through lush rouge lips comes a haunting melody. a song of lovelessness, to stain his spirit with a sorrowed tenderness. easing his bones till he lulls into a deep surrendering. and his fingers prick with warmth, alive with a daring sort of desire to touch and embrace. to console. the gentle silk dressing your skin parting and draping over in reverence of the high slit at your thigh, seemingly for him. to have, to hold, to care for.

but isn't that what every man thinks? that your crooning is for them alone. that when the passion of the melody becomes too great and your fingers begin to roam, nails sharp but feathery and caressing about the air and your own skin, that it is them you're thinking of. and when you shudder, when you hiss, breathy and overcome, isn't it them you imagine? touching and pleasing till that wordless teeming desire is fulfilled? because the allure beyond the burning in their eyes scorches your skin, forcing a craving in your bones. such lustful men, bound by the sin of their own dreams, and the ego that makes them believe all this grace and flare is made pure for them alone. but how can they not think those things? how can he not think these things? when you go on about so sweetly, eyes flitting to theirs, to his. and here he's caught. rapturous and silently pleading that you never look away.

roman knows you, but not in the common way that a man knows a woman. not by name or by touch, or the familiarity that comes with soft spoken passions and loud terrible expressions. he knows your voice and your sultry little songs. and in some small, hidden, back alley lounge just on the pensacola panhandle, he comes nightly to hear you sing. just as the burn of the sun falls behind the horizon, till the early morning hours, where the sky pulls out from darkness into a paled blue.

he sips at his dark liquors, tucked partly in the shadows of ill lit corners, bathing in the light of your songs.

but even in his silence, he shares the depths of his appreciation. flowers to match the rouge of your lips, the petals tender to the touch and blooming prettily. and every other night, they appear, at the foot of your dressing room door, waiting to be swept up in the caress of your fingers. and just before every show, as the audience waits with bated breath for you to take the stage, he sends a shot of liquor your way.

"courtesy of your admirer. for your nerves", the young bartender gives after pouring. the short glass filled with whiskey.

and though your nerves cry from the bitterness of it, you take the taste in stride. feeling the warmth of it in your belly, just as high heels click toward center stage.

stringy flicks of guitar, short clicks of percussion and the gentleness of your vocals smoothen the air once again. an intimate warmth he won't get used to. days, after weeks of a far away admiration and here he is still, drawn in quickly by the mystic of a woman he'd never known.

but you thought of him too. of the whiskey he drank as his eyes lingered, and whether not the bitterness was as terrible in the glass as it was on his tongue. or maybe it didn't linger so heavily there, undone by warmth and the teasing slips it took over his teeth as your palms caressed over your hips. lips parted, singing wispy, slicing faint into the heavy silence of the room. and how could you sing about such a lovelessness, when his hands— fingers locked in with one another, long and heavy— trouble your imaginations as you go on raspy and impassioned. thinking of where they could roam and what they could do.

surely his ego would take to a bursting if he knew.

but it didn't.

the bristling staccato of the drumming brush rustles the air but your voice fades with the spanish guitar to make way for the brassy float of a saxophone.

and there he is, sipping his whiskey, lulled into the atmosphere.

your heels clicking over the floor, a surety laid in your bones. slipping easy onto the leather seating beside him. one leg crossed over the other, the high slit in your dress draping to reveal soft tempting skin. and his eyes take to you there leisurely, not overly greedy, but enough to indulge an obvious show of your own play of desire.

his eyes flit to your lips, the rouge color similar to blood. he wondered often, since his first time here, what they might taste like. the pull of them.

"enjoy the show?"

your voice, this slow slip of honey.

"it was nice", roman says simply. as if that pitch and tone hadn't stained his every roaming thought and daydream.

"for all my hard work i figured i'd get higher marks. with how enthralled you are, nice is just a little to plain for my taste", something like a pout forming your lips, not too deep less you have him believe you actually care.

"you have a beautiful voice".

his own. deep. rich. binding to your bones.

your fingers play with his pour of whiskey. the liquor swirling as your wrist twist the glass. the strength of it hitting your nose. "as beautiful as your taste in liquor, so i guess you hated it".

he grins, clutching the glass to finish his drink. body closer. the brown of his eyes clearer as he comes just under the dim casting down of the yellow lowlight. an arm stretching behind to lay against the top of the leather seat. becoming comfortable. 'thats good', you think. comfortable is good.

"you should know by how often i'm here that i enjoy you very much".

and there is a quiet here, among the soft sing of music. his eyes looking into yours and yours into his. a moment to allow the settling of words, once before a mere silent admiration, now formed whole with letters and persistence to bring about a more complete desire. it is, maybe an invitation. an open palm, waiting for assent, the soft embrace of the other.

"enjoy me more". you stand. reaching out to pull him with you. "no more flowers and hiding in the shadows. dance with me".

his touch is colder than your imaginings but kind all the same. scent warm and autumn inspired despite the swelter of the summer season. a sweet spice that lulls you closer. a soft slow swaying together, intimate in it's own silence. and beneath stylish expensive feeling fabrics, you can sense the strength of him. lips lined soft and kissable, tempting. and his eyes from here, where you press into and sway with his embrace, are familiar. intense and consuming. a thorough take to your own eyes, as if to remember the little things. the shape of your lips, and the brown apples of your cheeks. the coy look up from under fanning lashes. an easy trailing over him, to note and remember in your own way.

"your songs", he starts.

you hum. "what about them?"

"they have a... somberness to them".

he leads your body gently behind a floor to ceiling oak pillar, done up with abstract relief carvings. a corner all to yourselves. you feel his hand maneuver, trailing to a less innocent placement. fingers long as they spread and sweep along the spine, pulling in till you flush softly to him.

you make no struggle to stop him, to pull away. you lean in even.

"i sing what i know".

the intensity of him breaks with a softening. "have you never been in love? has no one ever made you feel love in that way?"

"if they have, i don't remember".

pain corrals in him. spills over into his chest and his words. makes the utterance thereof small and aching. "thats a shame".

"is it?", thinking over what possible shame could come from something never had. "seems burdening to me. i have bills, i have enough things to cry over".

"things? you mean love?"

the way you speak so flimsily about it. is there really nothing of your memory? nothing of before?

"better to have never loved, than to love and have lost".

he smiles. "i don't think that's how the poem goes".

"ooohhhh", you tease. "he's well read".

he spins you. slips his embrace under your arm so that his hand meets the other at your lower back, at that less than innocent placement.

you take the time to breathe him in again, to smoothen your touch over the ways of his arms till they join lazy about his shoulders. nails roaming his nape in such a teasing fashion that it shivers his already cold skin. he's closer here, just enough to share his breaths. to see the freckles in his cheeks.

"he, is roman".

spine throbbing as his thumbs caress. his name slipping over your skin till its beneath and staining. and the spill of the saxophone is melodic. pleasant and soothing as he watches the rouge of your lips part. you tell him your name.

"we're on a first name basis now".

"we are".

the rumblings under the softness of his voice is divine. disrupts your skin till the hairs stand and nerves rush. memory washed with a familiarity you can't place.

his tongue peaks to slip over his lips. "can i ask you to do something for me?"

"what?"

his cheek presses to yours. and you feel the beginnings of a trembling. something ancient and belonging set into your bones.

"sing quietly. just for me".

mirth slips into your lips. the skin of your cheek rubbing against the hairs of his. lips breathy and teasing at his ear. "personal performances are expensive".

"i'm worth my weight in whatever way that pays you".

and even the angels, in all their majesty, can not delight nor arrest him so sweetly. with such a devastating gentleness of spirit. for the heaven in them, could not possibly do well to understand the haunting of this solemn summer song. a wispy falsetto, and the plucking of that spanish guitar once more. a soft sweeping melody into his ear. here, the sing of your voice is the tenderness of roses, having died once and remembering the pain of such a silent wilting, rising in spite from the earth again to bloom beautiful but with a familiar weariness. roman lulls, eerily surrendering, with the ease of a taken sailor by the song of the sea.

his touch is an endearing press into your body. no more of that idleness as they curl. dull and gripping into silk covered skin.

his eyes shine. taken. raptured.

your foreheads touch fondly. your nails still doing well to caress his nape. something like nostalgia corrals in your belly. in the rushing of your blood. his touch new but old.

his breath on your lips. close and sweeping against your face. his nose plays into the soft of yours. this finding of intimacy easy, as if it has existed before.

he hums. hearing the echoing of your singing still.

"so much like a siren".

"they're killers". your nails sharp with a slow sinking into his skin. enough the prick. to have him feel the possibility of pain. "of men specifically".

his own fingers curl inward again. endeared to your warmth. "i guess i'd be susceptible then".

you smile. thumbs running from his neck to the work of his jaw, where the hair is thick and bristling, till you find your self soothing over his freckles. his own touch soothing just the same into the line of your spine. his lips planting into your palm. into your wrist, lingering to feel the pulse of your blood against his mouth.

"you're too warm", kissing your wrist once more. "too welcoming to be so cruel", he says. as if he knows you well enough to know such things.

"and what if that's the act before the inevitable?" you gaze flickering up through your lashes. touch slipping again, along his neck, thumb over the apple of his throat. palms coming down to hold at his arms. feeling the thickness of them beneath his clothes. you smile. "i sink my teeth into you before ripping you apart".

the music is light. eases your bodies into a swaying still. alone together in this little corner of the lounge. of the world.

"you make it sound like a good time".

"depends on what you're into i guess".

"you seem to like to play with your food".

your lips grow closer. the seam of them faint and teasing against his. sharing breaths and the thinning control to not act so suddenly on long built desires.

"a bit of patience makes for a better savoring".

he grins. wide and daring. "i just like to go for what's mine".

"whats yours?", you laugh. so typical. you play an eye roll. "who knew men could be so possessive".

he lips take their own gentle trailing. from near your mouth to the supple skin of your cheeks, steady and light, soft at your jaw till they go about your neck. the tip of his nose pressing into your pulse. fingers deepening into your back, urging an arch into your spine as you cling to him gladly.

your blood thrums harshly. thrilled. he hums, licking his lips, and the slight of his tongue wets your skin. and there he is warm, that much you can feel.

"as possessive as the day is long. you're not wrong about that".

"but it's night time now".

he kisses your pulse. the touch of his mouth sweet. stirring. the mantle in your belly burns.

"that's when the pursuit is sweetest".

he spins you again and you take the time to breathe. to gather the restlessness in your body that longs for him to do something undoubtedly amorous. and that same hope dances in him, plays about his nerves and the set of his eyes.

"where do i know you from?", too troubled by the possibility to ignore it.

"nowhere".

"then why is your face so familiar?"

he grins. "you wouldn't believe how many women have stopped me to tell me the same thing. maybe i just have that face".

'bullshit', you think. the idea laughable. "you're too handsome to be familiar. maybe it's just them easing their way into trying to fuck you. compliments and a sense of familiarity go a long way".

his forehead rests to yours, his throat humming. mulling over your words. guiding your hips through the melody still.

and when he speaks, the lewd make of his words stick to your lips.

"do you want to fuck me, angel?"

your breath hitches. lightly trembling again in his arms. in the tightening bind of his fingers. your blood sweetening in his nose, like the first drips of honey.

"is it not obvious enough? do you have to ask?"

and no he does not make you suffer. does not force the words off your lips, to soothe the width of his ego. it would only sour the warmth in his hands, for a woman such as yourself should not beg. should not reel with an exposing desperation, even amidst the shadows of such ill lit corners. she should be taken as she so coyly wishes, with firm sweeping tongue and the powered grip of an impassioned lover. and roman had no qualms of doing such, of kissing you greedily and forming your body to his. of curling his hands to bruise the silk of your dress, fabric crushing in his fingers till the high slit ran into his palm, leaving your skin bare. whiskey on his tongue, slipping lewd, with much method, to leave you drunk off the wet roaming of it as he buried into your skin else where.

your back roughs into the oak pillar, carvings kneading into you. the brush drum steady, louder, accompanied by the bright trill of a piano.

roman moans into your mouth. light and deep. breathing tensely through his nose. your hands take his, searching over skin to guide him. the heat nestled between your thighs coaxing his tongue to lick into your mouth.

he smiles. your breaths rushed and ragged. a lone finger taking a simple glide till he slips through your slit. and the silk of your heat is something memorable. a soft warmth he's known once before. groaning, mouth open to breathe into you till he's ruffling into your neck.

your hands cling to him and your hips chase him. whimpers singing from your throat.

"you'll have to forgive me, but i need you quiet", he gives. feeding the long tease of his touch pass the tight ring of resistance, till he's seated deeply. steeping his finger till satisfaction bruises his nerves. he wonders, after having you tremble again under him, if he'd ever be satisfied. "charge it to my own possessiveness, but i can't have them hear you. hear how pretty you sound".

he retracts, to join in another finger. a thicker stretching that leaves you to struggle against the breaking of a moan. your face hot and damp. the air thick and his mouth at your pulse urging your blood to rush, as if it knew it was him nestled against it.

"okay?"

he strokes wet, firm feeling and slow. a patient working in that reverences the wild throbbing you take to it. an uncontrolled, mindless pulsing about his fingers.

"need you to answer me when i speak to you".

and his voice grows dark. controlled but undefiled still in the depth it holds to. it sinks into your flesh, commands your lungs to breathe, for words to form. shy and pliant. "okay".

he moans again, licks into your skin, savoring the salted taste of sweat. and his touch feeds into you, roams into a roughness, the staccato of the brush drum blending seamless with the arousal coating his fingers. a sticky, pitchy mess singing lewd from your pussy as you struggle not to curse brightly into the thick air. but he makes it nearly impossible to breathe, to collect even the smallest sense of control. and his pleasure works over your body in familiar ways, remembrance sullying your bones till they surrender from some odd far away sense of knowing. as if all the skin and bones and nerves that make you have found something long lost, teeming with joy at such a faithful reunion.

his lips pull into yours once more. your fingers holding over his face, keeping him there, to suffocate under his tongue. a sweet sweeping in, lapping lazy over yours in his own delirium. you suckle over the whiskey taste, thumbing into his cheeks.

your core tightens. a salacious warning. burdening and hot as his thumb joins in to push against your clit.

your forehead knocks gently into his cheek. nails sinking into his thick neck. unable to speak by his request but so desperately needing to express the weight nailing over your nerves.

the tension, unreleased, builds over. pricks your eyes with a glassiness. you tremble still. "roman please", wispy and small.

his skin delighting with the brush of your breath. desperations of pleasure bleeding into his skin. the ache and the burden of your arousal seeping hot over his fingers. clutching onto the thick of them. needy and mindless.

his eyes meet yours. breaths stuttered and words ill formed as the heat of his staring pierces. flecks of red revealing before their disappearance. your mind too muddled by pleasure to care.

"have at it", he whispers. thumb rolling over your clit as he deepens the ways of his fingers. "it's yours".

your mouth presses into his shoulder, to muffle the cry that comes with that wild bursting heat. the pulsing in your skin and the heaviness in your chest. fighting for air as his mouth sweeps to kiss over your lips. fingers reveling in the messiness of your release. playing through your slit, soothing over your clit till he pinches the pearled nub, wringing out the remains of arousal. your hips rutting to chase the sensation, insatiable and wanting still.

you whisper to him, rushing and grinding your hips still. "i'm renting upstairs. s'not too big, but it's not bad, if you-if you wanted to come up-"

"lead the way".

and not much goes into the song and dance, of feigning interest about egg shell white apartment walls, and the color of your furniture. or how your place is just a greater carrier of the way your skin smells. comfortingly sweet and all consuming. his eyes not minding the antique lamps and neither does he care too much for the stacks of books and large hung up paintings. because he remembers these things quite clearly —your knack for artistry and your mind for words in books— of the woman he knew before you, the one with a different name but, her, your face all the same. the innocence of your forgetfulness twinging where his heart used to be. because how could he be angry, at the things you fail to remember, when now the peace upon you rests so dearly. years of waring with himself about ancient decisions long forgotten, as he spreads his tongue through the swollen slick parting of your folds. enraptured still, after all this time, by how your taste coats his tongue. arresting even the sharpest parts of him.

the lay of your body picturesque along the kitchen island counter. and the marble top is not nearly as cold as his skin, but it shivers you all the same. late night, early morning, summer breeze willowing over you.

the drawling alto of your moaning much different from earlier. something rawer and less refined but angelic all the same. a blend of feathering whimpers and ill controlled swearing, ravishing his ears. coaxing them to burn red as they rest between the heat of your thighs. and when he dips over the swollen nub of your clit, lips kissing messily, his eyes take to the curves of your skin. supple plans of warmth that leave him aching.

your mouth opens lax, devastated by pleasure. fingers twisting against the hard peaks of your nipples. rutting up against his wet mouth for more of his good torture. his tongue invasive and exacting. thick and stroking against the lush opening of your body. and your moving is mindless, driven by blood lacing lust. the ball of your foot hooking into the broad muscles of his naked back as the other aches idle under the weight of his fingers. pushing into him, holding him hostage.

the soft sweat dampened slope of your back arching. fingers curling into the edges of the kitchen island. "you're so damn greedy for it", toughing out of your mouth. words cutting through short breaths.

he moans. dipping his fingers where his tongue had been. eyes casting over the swell of your breast, where your breaths shudder outward. delirium overtaking, slowly, steadily, dulling your eyes and the manner of your nerves. his thumb finding your clit with ease. pressing firm. "can't be a bad thing, not when you're shakin and tightenin up for me like this".

your head rolls straight, to find his eyes dilated. near black even. "you like it".

"no, angel", that delicate term returning to wreck havoc over your skin. "i love it". his lips pursing as he gathers a sticky line of spit, letting it drip to your clit. a man possessed, watching you pulse about his fingers. "real sensitive to my touch". and the kiss he leaves along the mess of your folds is terribly gentle. something like a gift. lips pursing, sweeping with tongue, as if he were taking in your mouth. and there he stayed for sometime, tonguing over the swollen bundle of nerves, nailing into your thighs, and breathing in the essence of your warmth. "y'sound so sweet when i have my tongue on you", going on like a man long starved of touch, passion unsullied by time. and when he parts, mouth and the bristling hair of his beard soaked over, the groaning that draws up from his chest proves to be uninhibited, a bout of impatience slipping in his blood to poison his resolve.

his vision fights for sharpness, for control over more primal urges. "wanna hear you when i make you come".

you smile. overdone with pleasure. "so many request".

"request can be denied". his tongue laps lazily, in a means to savor, and he moans till it shakes into laughter. amusement coursing him as your thighs flex in attempt to close against him. "you have yet to deny me".

and his truths are proven. the spasm seizing your nerves and the drool pooling from your pussy enough to satisfy the surety of his words. the lithe forming together of a speechless pleasure breaking from your throat like feathered little songs. an ensemble of gasping and whimpering brighter than the day sky. and when you fight for air, to reel in the overtaking frenzy, the coarseness there in your throat rumbles beneath your skin, till its a deep resonance slipping into his ears, daring to drip into his blood. an everlasting poison.

a siren indeed.

roman plants kisses into your skin, a slow trailing up towards your navel. face planted into the heat of your belly. the scent of your arousal, a sweetened ambrosia. his chilling hands roaming over the aching in your thighs till their kneading reaches your hips. your numbed fingers run into the roots of his hair, circling over his scalp tenderly.

"c'mere".

you sigh. blissed and pliant. legs and arms shakily wrapping over him till they cling for fear of letting go. your nose tucked into the thick of his neck as he carries you to the soft leather couch.

and he just barely overtakes the quaint little furniture, nestling into its corner to spread his leg out as the other bends to hang over comfortably.

you waste no time. lips molding over his dewy ones, your taste steeping into your tongue as you suckle over his. nimble fingers undoing his pants till his cock is heavy and hard in your palm. his dull nails threatening to bruise your hips as he flushes your pussy over him. breathes undone and stuttering, mindlessly working your still swollen clit over the thick of him. tip pink and aching for something more than the tease of your folds. and a nostalgia takes to his bones, a similarity of passion paining him, memory this boundless flooding. the sinking in of your nails as you kiss his mouth and the heat of your skin, clinging to him for fear of losing him, all too agonizingly familiar. he can feel it beneath his toes, amongst the sensations of bliss, the sand of summer beaches and with the burning at the tips of his ears a bright bursting laughter. far away memory comes to him here, flowing along a breeze.

a fist takes to his stiffness, the other hand holding up your hips. your lips trembling, one against the other. sharing thick intimate breaths. and amongst the late night silence, he stretches you delicately. a leisure, deft upstroke that waits with patience to feel your warmth. a steady handling of your hips as you attempt to settle him in.

your jaw opens lax, gasping as the knocking out of wind leaves your words broken.

"shhhhh", mouth pursing into yours. kissing into your cheek. once and then twice. his hips winding up into you. and the racing of your heart echoes in his ears, forces his tongue into a craving. your blood sweet in his nose still. "take me slowly", palms working your hips to grind into him again. spine throbbing, dazed even as your throat sings with little pleasures, heavy breathed and delirious. "relax into me", a soft command that overtakes the stiffness in your body, coaxing you to settle, molding into the thick mass of him. nearly impossible to tell the beginnings and endings of your bodies. "breathe". and your lungs open, the headiness of him delighting your nose.

and the tenderness here is similar to gentle rain. the light kissing of lips and the working in of pliant fingers, caressing soft blissed skin. your heart beating with vigor against his chest, strong enough that it feels as though one exist within himself, pulsing about and filling him with life.

his sharp teeth pull at your bottom lip, edging there just enough for a shiver and a moan. for the quick thoughtless rutting of your hips, squeezing against his cock, steeping him in a wet heat that left a terrible aching in his balls. he wanted to fuck you madly, suffer you to take him in his fullness till neither word nor thought could ever exist long enough to leave you. he wanted to consume you, enough that you would not forget him again. but this intimate savoring was too rich for him to just abandon on the account of wanting to run your pussy ragged. he could possibly do that another time, if you would have him. if you would cradle his head like you do now, letting his tongue lead over your skin till it prodded and sucked over your nipples. growing greedy, palming your breast to adore the sensitive skin. if you would have him, he would treat you with his urges, charm your body with anything you wanted.

your clit pulses, urges a grinding to knock softly against his hard body. and the insatiable need teeming in your blood is nearly unbelievable. never having felt so wanton and filled with desire.

his lips gentle still and unchallenging as they meet yours again. unhurried but sure. like he'd kissed you a thousand times.

your eyes flutter open. forehead resting against his. and when the earthy brown of his stare burns into you, the familiarity of him burdens your spirit so. a deep, undefiled pressure that flutters your heart.

the grainy sand of a summer beach and bright bursting laughter.

your thumb caresses the freckles at his cheeks. "i know your face". thumbing over his mouth. "your tongue. your hands. your eyes".

he sinks further into the couch, lets his head rest against the arm of it. pulls you into him. "where from?"

his inky hair, long undone in the midst of passion, falling about him. his gentle kissing mouth and his hands. his penchant for whiskey drinking and the unforgettable way he feels, filled to the hilt.

"from dreams".

he hums, indulging the thought. collects your hips with a covetous touch. torturing the dulling ache in your clit to flare with a renewed sense of life, fingers curling in to work your pussy over him, stroking up to meet you with a tenderness that reddens his cheeks and the tips of his ears.

his words a gruff escaping.

"how can you dream about a man you don't know?"

the drool of your heat coats him with its own spirit of endearment. dribbles out till its slicking over the tuft of hair just where you meet him. your teeth taking to your lips, a feverish excitement lacing your pleasure still, beautifully undone, and becoming undone still at the splitting stretch of his dick. you slur even in your delirium, assailing the leather of your couch's arm as you bounce against him. knees bent and thighs aching, but still, he opens you fully, feeds into you like he belongs there.

you stitch words together drunkenly.

"how can you... how can you kiss a woman, fuckk!..kiss her so lovingly, when you've never met her". your teeth clench. touch playing over the dampness of your skin. a taut nipple caught over your thumb, encouraging the pulsing warmth that greedily clings to him. "why would you want to do that?"

and if he had a heartbeat, it would burst with a raging. leave a vicious pounding into the ways of his pulse at the utterance of such a question. if only you knew.

"your dreams are just desires. they'll pass".

"and when they don't?"

you fight. for answers that don't leave a bitterness on your tongue. for his touch to become this great staining. a deep enough stitching beneath flesh and bone.

"they will".

you voice small. near fearful. "i don't believe you".

roman corrals you. faster than the air can refill your lungs from such an abrupt shifting. laying under him, heavy breathed and trembling, your shoulder blades resting over the arm of the couch. his eyes splitting into your skin, roaming, as always, as if to remember for the sake of forgetting, this soft surgical tearing through till you can feel the influence of him. a stuttering in your heart. fear and excitement one and the same. and when his cock ruts, slipping in wet and nearly unforgiving, you gasp into still thick air. his body hard and fluid, hips working deft, tongue running over the ways of his teeth.

his palms form over your thighs, pressing in to curl at the pliant flesh.

his heavy breaths take in the scent of you. sticky arousal and the tempting sweetness of your blood. he groans, fucks into your pussy with a toppling desperation.

his hair falls over him. raven colored and silky. his stitching together of words slurring. pleasure mounting his bones. taken by the dripping clutch you've suffered him to endure. but he's taken freely. gladly even.

"what do you want?".

his eyes glazing over. and you reach to nail your fingers over him. over taut tough muscle. a harsh prickling that feels delicious in his skin.

roman feels alive. like he could do anything. could give you anything.

thrill in your eyes and the heat in your skin, moaning beautiful, and if not for his deadness, it would surely be fatal. your lips now rouge-less, but addictive all the same. he wants to consume you.

"you". nothing more sure could ever be said. "i want you".

he grows faint in his control. words near a whisper.

"you don't know what you're asking for".

a breeze indulges the room. cuts into the thick air.

"please".

your body seizes. bursts hot and wild. and here he growls, dark and unbound from control.

red flecks spot his eyes, his breath oddly warm as he lowers his lips to kiss yours. tongue sweeping in, rough and rolling over.

your body preens, hitching and pulsing still. his nose nestling into where he can feel the beating of blood along your neck.

you sigh. content. arching your body into the weight of him.

a paining tear into your skin. sharp teeth into delicate supple flesh. blood slips over onto already tainted leather and the wide flat licking of his tongue. he moans, drunk, weighted against the abrupt shock of your body. drinking in the fast drip of red as he comes undone.

#roman reigns #roman reigns fanfiction #roman reigns fic #roman reigns fanfic #roman reigns x reader #roman reigns x black reader #roman reigns imagine #roman reigns smut #very very very slight supernatural elements #joannasteez

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shuttershocky · 1 day

Note

What do you think of Nasu basically spoiling Mahoyo 2 in FGO, even though Mahoyo 2 doesn't exist (yet)?

lol

lmao even

I will make an even better call.

He did not stop at spoiling Mahoyo 2, a VN that doesn't exist in any way, shape, or form yet. No. In fact, Nasu has gone above and beyond, also spoiling a critical new story element for the Tsukihime Remake's Red Garden, hidden inside the Mahoyo event.

Why do I say this? There's a scene in the collab event where the gang discusses the matter of reviving the dead. Aoko's little incident at the end of Mahoyo inevitably gets brought up, but Alice shuts down the notion that Aoko can revive the dead, because what Aoko does is time fraud, essentially running a scam, and therefore does not count.

If you are killed, but Aoko makes it so you don't die, she does so by taking the time you were killed and propelling it into the far future, way after you would die of old age anyway. In Mahoyo, Touko is aghast at the methodology because messing with time would absolutely incur some kind of terrible debt to the fabric of reality that will have to be paid eventually, while in FGO, Alice believes it doesn't count as reviving the dead, probably because you never died (because the time that you died is far, far sway).

What does this have to do with Tsukihime?

Now, in the original Tsukihime, Shiki was basically a dead man walking; his body was animated by Akiha's life-force / soul after saving her from an inverting SHIKI, and while it's never explained beyond "Akiha has powers no one else in her oni family has", no mage has been able to revive the dead, or keep a body that can no longer live on its own moving by making it a parasite on their own life. Others that cheat death such as Touko or Roa (or Meltryllis in FGO) move bodies instead, they cannot save a body that has been damaged beyond saving.

Only Aoko and Akiha have done that.

Now, we know due to some bad ends in the Tsukihime Remake that Shiki is still unknowingly dependent on Akiha, because she's able to control his life and even make him pass out by cutting him off (at least until he gets possessed by Roa), BUT we don't know if the accident with SHIKI was the only thing that happened in the past.

The Tsukihime Remake no longer takes place in Misaki town like the original did. This means that Shiki no longer encounters Aoko walking around her home town. She would have had to go to a hospital in Souya town, and coincidentally run into 9 year old Shiki terrified of seeing death everywhere.

I don't buy that their meeting was a coincidence anymore. I think Aoko knew he would be there.

There is now an unexplained gap between when Roa was Elesia, and when he was SHIKI. In the original timeline, Elesia would have been born around 1975 and fully overwritten by Roa when she was 16, or at 1991. If Arcueid killed her quickly, Roa would have had to find a new host fast, and the incident with SHIKI happened in 1992, 8 years before the events of Tsukihime. No gap.

But now, Arcueid defeats the possessed Elesia in 2001, and the incident with SHIKI doesn't happen until 2006 (8 years before the events of the Tsukihime Remake in 2014). There's now a 5 year gap.

Now, Nasu might just be really bad at mathing out his timeline, but based on entirely no evidence whatsoever, I'm gonna say the 5 year gap between Roa's victims is intentional.

Roa had one more victim in between Elesia and SHIKI, which would be Shiki himself, way before Shiki would gain the Mystic Eyes of Death Perception.

Roa got confused. He meant to target Tohno SHIKI, heir to the powerful Tohno family, and instead got Tohno Shiki, their child slave whose family name got replaced. Roa goes wild inside a Nanaya's body, but ends up running into Aoko (who we know due to Melty Blood Type-Lumina that she has orders from the Clock Tower to defeat and interrogate Roa), who gives him the fuck you laser and incinerates Roa in an instant. Roa gets told by Dr Arach (who is obviously a fucking vampire) that he had the wrong Shiki all this time, while Aoko uses her bullshit to restore Shiki himself.

Unlike with Ciel, whose soul is now "Roa" and thus became immortal because she cannot die while Roa is still recognized by the World as alive, Aoko's method of reviving the dead doesn't heal them of death, she just magics all that shit away.

This makes Shiki avoid the magic loophole that Ciel gets trapped in, becoming an ordinary boy again with no vampiric connection (because Aoko made the whole incident never happen).

That distinction is important, because not dying when being killed is why Shiki has the Mystic Eyes of Death Perception in the first place. He experienced death and his mind now comprehends its true nature. Aoko reviving him doesn't trigger it because like Alice says, Aoko doesn't revive the dead.

Akiha on the other hand, triggers it because Shiki was mortally wounded and his life can no longer move his body, instead relying on Akiha's life force to survive. This makes Shiki dead but functionally alive, manifesting the mystic eyes of death perception.

When Aoko heard that the little boy she unkilled somehow managed to die again just a little later only to reawaken at the hospital, she had to come and see him for herself, leading to that fateful meeting outside the hospital.

TL;DR - Mahoyo event spoils that Roa in the Remake timeline switches it up, possessing Shiki first before ever touching SHIKI, which Aoko deals with.

_____

I have zero proof about any of this by the way which is why it sounds like complete bullshit, because it is. I just saw an opportunity to post Tsukihime Remake speculation on a barely related topic and ran away with it.

BUT, consider this: I correctly predicted that in the Remake Arcueid route, Roa would see a skull staring at him when he finally realizes Shiki is "Death". I know what Nasu plans for Tsukihime, it is all revealed to me in my dreams.

#Tsukihime

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plotandelegy · 7 months

Text

The Deep Wells of Magic: Drawing from Timeless and Novel Sources

Hello, and welcome to another one of my incredibly overdue writing guides. Where does the magic pulse from in your fictional world? What energy does your magic user draw forth to complete their spells? Here is a list of classical and somewhat unique magical sources you might use to craft your supernatural system. Remember, the key to originality is being a little twisty and the ability to mash concepts. Okay, maybe the first isn't a determining factor.

Sources:

Geographical landmarks

Celestial Events

Memories

Mythical creatures

Seasonal events

Ancestors

Secrets

Mirrors

Shadows

Dreams

Movements

Heartbeats

Ocean currents

Moonlight

Fragmented thoughts

Music

Echoes

Crystals

Wishes

Mana

Mystical ingredients

Special words

Color

Divine intervention

Relics

Chants

Symbols

Candles

Talismans

Meditation or trance

Sounds and silences

Emotions

Elemental forces

Sacred sites

Amulets

Magic dust

Energy residue

Wind

Weather

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trashcanlore · 4 months

Text

Kabbalah in the Worldbuilding of Genshin Impact; Part 2: Descending to the Garden

Written by Sabre (@paimoff on twitter) and Schwan (@abyssalschwan on twitter)

This theory assumes you’ve completed the Fontaine Archon Quests, as well the Narzissenkreuz questlines. If you haven’t, you will be a) very confused and b) very spoiled.

A Tale of Four Descenders

Four entered the pardes (orchard/garden)...one looked and died, one looked and went mad, one looked and cut down the saplings (apostatized), and one came in peace and left in peace [1].

This Jewish legend appears in multiple locations throughout the Talmud and its commentaries, and is associated with two pre-Kabbalah schools of Jewish mysticism known as Merkabah (chariot) and Hekhalot (palaces) mysticism. Both depicted visions of the throne of God (chariot) and the heavenly palaces, and provided instructions for how one might ascend to heaven to receive some kind of revelation or knowledge. The orchard/garden represents esoteric Torah (Jewish law) knowledge; this is why the euphemism for apostatizing is to “cut down the saplings.” (I know he says “blasphemy” (which is different), but this is reminiscent of what Dottore says at the end of Winter Night's Lazzo.)

The pardes legend first appears as a warning to scholars about the consequences of teaching about the “chariot” to disciples who are not ready. Though it's not mentioned in this specific text, this process of meditating to ascend to the palaces of God is referred to as “descending” in the writings of the Merkabah mystics [2]. In other words, this legend tells the story of four descenders.

In the conclusion of the Sumeru Archon Quests, Nahida tells the Traveler about the existence of the “Descenders." Based on the information she got from Dottore in exchange for her Gnosis, she shares that:

Descenders are “external beings, ones that don’t belong to this world”

There are at least four of them, and the Traveler is the fourth

According to the Fatui, the Traveler's twin is not a Descender

The Traveler is not recorded in Irminsul, but their twin is

Nahida speculates that the First Descender is the Heavenly Principles, but the identity of the second and third are unknown to her. At that point though, we still didn’t know what it was that Descenders do, or what the exact criteria for being one is, only that it couldn’t be as simple as just being from outside Teyvat.

The Fontaine World Quest series about the Narzissenkreuz Ordo fills in some pieces of the puzzle; specifically an additional criterion to be a Descender: they must be someone with a will “that can rival an entire world.”

In retrospect, Inversion of Genesis also hinted at the role of a Descender; The Traveler witnesses the results of someone attempting to change fate and/or the world and failing.

Nahida: Changing the world, changing the past, changing the fates of other people... These are not simple things to accomplish. Nahida: What you were looking for is complete annihilation... But this is just a fantasy. Even if The Balladeer is removed from existence, the world will not heed your will. (Inversion of Genesis)

For most people, actually “changing the world” is impossible. But for a Descender, it might be different.

Will

...Though the results are nothing impressive, this is because the object they chose was pure elemental force, which lacks any will whatsoever. Like the difference between the Director (Lyris) and a Hydro Slime, perhaps? ...Actually thought of a possible breakthrough during the process... Even though the calculated result is unchanged, but if the refinement method is reflected... If the power of... then maybe we can extract the "will" within. Using this method... resist the impact… (Excerpts from Rene's Investigation Notes)

...The true source of the mysterious power unique to this place that the locals call Khvarena is unknown. But based on its ability to eliminate or reverse the influence of the Abyss (in fact, it is a type of annihilation reaction), the two powers are of the same level, that is to say, they are of the same order in terms of rules... ...In other words, both possess the power to "re-write the rules"... ...Regrettably, be it Abyss or Khvarena, all current users are stuck in an "unconscious" stage of being influenced and overwritten by their power… (Bizarre Transcript)

The Gavireh Lajavard region of the Sumeru desert introduced us to the writings of Rene, a precocious researcher with world-saving ambitions and not nearly enough adult supervision, as well as his only slightly Abyss-corrupted bestie Jakob. Like the Khaenri'ahns before him, Rene was searching for a power that had a “will,” believing it necessary to save Fontaine from an unspecified disaster that we would later learn is The ProphecyTM. During their time in the desert (which was right after the cataclysm), Rene determined that both Abyssal and Khvarena power have a will, but pure elemental energy did not.

Some time after their trip to Sumeru, Rene and Jakob would found the Narzissenkreuz Ordo, with the goal of finding a way to save Fontainians from being dissolved in the primordial sea-laced floodwaters. They would do this by dissolving all humans in Fontaine with primordial seawater in a controlled manner, melding everyone together into one Oceanid-like being to survive the apocalypse (think Human Instrumentality Project from Evangelion). Rene had predicted the coming apocalypse with something he called his “world-formula,” and in addition to predicting the doom of Fontaine, it also informed him that “unlike the world depicted in these ancient texts, there will be no more new civilizations born.” The only way this could be changed would be by introducing a new “‘variable’ from outside the system” into the formula (Enigmatic Page 1). Rene’s goal was to become this variable, i.e., a Descender.

Four Worlds

The Tower of Ipsissimus comes from an old concept from the ancient Fontainian kingdom of Remuria, and was used to describe a powerful will that could rule, sustain, and destroy the world. This tower was designed by the Narzissenkreuz Ordo, and it represents the evolution of the human soul and the infinite mysteries of the world. The Narzissenkreuz Ordo believes that people continuously refine themselves through samsara cycles. These include Hyperborea, Natlantean, Remuria, and the first half of the fourth samsara (Khraun-Arya), which we are presently experiencing. Please take note that these are just names given to these eras by the Ordo based on ancient texts, and this evolution refers to spiritual evolution. There is no intent here to antagonize any research results obtained by the Akademiya. The human spirit undergoes the loss of paradise, the defeat of evil dragons, the original sin and baptism, and finally, freedom from the gods.

The term samsara is typically used to refer to the cyclic nature of reality, and can be used to describe concepts like reincarnation. It is not, however, referring to time loops. There is A Lot to unpack about this note, but for the purposes of this theory we will be focusing on the concept of these “four samsaras” and their relationship with the concept of a Descender, specifically that there seems to be the same number of samsaras as Descenders.

You may be wondering - this is Kabbalah world structure theory and we’ve yet to discuss Kabbalah. Well, it’s time now! But before we can get into specifics, we first need to review some terms discussed in Part 1 and then go through some basics of Lurianic Kabbalah. Ah, the irony of calling anything about Lurianic Kabbalah “basics.” Caveat that what follows will be a simplification of concepts that are very difficult to grasp (I definitely don’t know what’s going on).

Creation of the World, Kabbalah Edition Previously, we compared the “limitless light” emanated by God to create the world to the power of elemental energy, and compared the sefirot of the Tree of Life to the seven elements. The sefirot are components of this divine light (like light passing through a prism and refracting) and represent attributes of God that are used to create the world. The sefirot are traditionally depicted together in the form of a tree, which maps out their relationships with each other. For more details on the similarities between Kabbalah and Genshin worldbuilding, consult Part 1 (link) if you haven't read it yet.

Kabbalah focuses on describing the relationship between the infinite God and the finite universe and how it was created, with variations between different schools of thought. In this theory, we’ll be primarily focusing on the ideas of the Kabbalist Isaac Luria. The central idea of Luria’s philosophy was a concept he called Seder Hishtalshelut, or “Order of Evolution,” which refers to the cycles of “exile” and “redemption” (creation and destruction) the world is eternally experiencing. In the Lurianic system, time isn’t linear; the world was created in the past, but it’s also being created now.

The beginning of this Order of Evolution is referred to as the Tzimtzum, or Contraction. This refers to the contracting of the infinite God to make a space where reality could be created. Once this is created, a ray of divine light enters the void and begins to emanate reality. This is similar to the concept of the Pleroma in Gnosticism. The further the divine light gets from the source, the more it starts to break down into separate parts. More specifically, it breaks down into the Four Worlds, which represent stages of the evolution of reality, but also stages of the spiritual evolution of the human consciousness.

The Four Worlds are: 0. Adam Kadmon - Primordial (Original) Man 1. Atziluth - Emanation 2. Beriah - Creation 3. Yetzirah - Formation 4. Assiah - Action Material reality is distinct from these four worlds; the ‘real’ world emanates out of the fourth world, Assiah. Each of these four worlds have their own sefirot structure, which in themselves contain additional sefirot, on and on, like a fractal. Luria called these recursive structures “tree systems” [3]. In Genshin terms, this is like how we have Irminsul, the world tree, but also the other smaller Irminsul trees in domains.

(Fun Fact: this schematic is sometimes called Jacob's ladder) The system of the Four Worlds and their nuances are very interesting in themselves, but for the purpose of this theory, we’ll be focusing on the 0th world, Adam Kadmon, and the symbolism associated with this concept in both Kabbalah and general Jewish philosophy.

Primordial (Hu)Man

The concept of an ‘original man’ is discussed in Philo’s commentary of Genesis, where he describes this being as androgynous, connected to the concept of Logos, and the Idea/Form of humanity in contrast to the ‘earthly man.’ Philo’s definition of the Logos was something closer to the concept of a demiurge-a being responsible for creation of the world. Logos literally means ‘word’ or ‘reason’, and otherwise typically refers to divine reason, or the word of God. It’s important to note that here the use of the word ‘man’ refers to a human being, not specifically a male person. Though often described as a man, the Primordial Man of Kabbalah is considered androgynous (like the Primordial One of Genshin).

The Zohar (a foundational work of Kabbalah) describes the Primordial Man as the “image of everything that is above [in heaven] and below [upon earth]; therefore did the Holy Ancient [God] select it for His own form.” The Primordial Man is the personification of the 10 sefirot together and represents a microcosm of the universe (macrocosm) [4].

Narzissenkreuz: I... I sense "reason." Visitors, are you the successors to Narzissenkreuz, or are you a threat? Narzissenkreuz: Is "Reason" that which grants you such strength? Narzissenkreuz: No, I have noticed. Have you always been in that realm that I pursue? O, you who are equal to a world! (Waking From the Great Dream) Man, as he was before his fall [first sin], is conceived as a cosmic being which contains the whole world in itself (Trends in Jewish Mysticism, pg. 215)

Lurianic Kabbalah considers the Primordial Man to be the highest level manifestation of God that can be conceptualized by humans. The world of Adam Kadmon precedes the emanation of the lower Four Worlds, but each of these worlds have their own corresponding anthropomorphic figure as well [5]. In contrast to the worlds that follow Adam Kadmon, the sefirot of Adam Kadmon are not in a Tree of Life configuration, but rather in the configuration known as “upright,’ arranged in the shape of the human body.

The concept of a Primordial Man exists in other religions and mythologies as well. There’s the Gnostic Anthropos, Adam Kasia of Mandaeism, the ‘Universal Man’ (al-Insān al-Kāmil) of Sufism who functions as an Axis Mundi, the world-soul of Platonism, Gayomart of Zoroastrianism, and more. The symbolism of the human body as mediator between the divine and the material world is not unique to Kabbalah. Kabbalah’s version of the World Tree and Primordial Man both function similarly to the Axis Mundi; they are the same emanations of the divine, just arranged in different configurations.

Will and the Primordial Man In Kabbalah, Adam Kadmon represents the will of God, specifically the will to create. The blueprint for the creation of the world is contained within this being/world, all superimposed together into a “primordial thought.” Within Adam Kadmon, there is no distinction between the individual sefirot, or rather, between anything at all. Everything is contained with this world/thought, but there is no time, no space, and no limitations. WIthout limitations, individual beings and concepts cannot be created. Therefore, the unity of Adam Kadmon had to be broken; specifically into the 10 sefirot, which could then assemble themselves into new configurations and continue the process of creation [6].

Narzissenkreuz: The witness of all, the recorder of all, the designer of all. Narzissenkreuz: Only one who is worth a world can bear that title. (Waking From the Great Dream) If the righteous wish to do so, they can create a world. (Babylonian Talmud, Sanhedrin 65b)

Back in Part 1, we compared pure elemental energy to Kabbalah’s divine light of creation and the ten sefirot to the seven elements. If we apply this analogy to Adam Kadmon, doesn’t a being that could (theoretically) resonate with all elements and would eventually meet their end by being broken up into many pieces sound familiar?

At the end of Act V of the Fontaine Archon Quest, Skirk tells Neuvillette that the Gnoses are actually the “remains of the Third Descender.” Neuvillette, the Traveler, and Paimon speculate that this is possible because as a Descender, they would have also had the same unique compatibility with the elements as the Traveler. Neuvillette’s character stories refer to the remains of the Third Descender as the “seven remembrances,” which were used to create a new “order” for the world, with “all fragments of the primordial…driven to devour each other.”

Rene’s notes in the Tower of Ipsissimus directly tell us that there is a connection between the concept of the Primordial Man and Descenders:

"Lies beneath the great sea" is, itself, an interesting phrase. It comes from ancient Sumeru texts, and should be read as "Narayana*," which also means "primordial human." This, too, is my goal, for not all that comes from beyond may be as one that "descends." That title belongs only to wills that can rival an entire world. That is what I seek, the way to become just such a will, one that can protect the world, sustain the world, destroy the world, and create the world.

[*Narayana (Sanskrit: नारायण, romanized: Nārāyaṇa) is one of the forms and names of Vishnu, depicted as sleeping under the celestial waters, and is associated with creation. This reference aligns with Rene’s goal of using the power of the Primordial Sea to make himself a Descender. ]

In summary, we have four Descenders, we have four samsaras, and we have four symbolic worlds that are only able to exist due to the destruction of a 0th world known as the Primordial Man, who represents the totality of the divine Will to create the world and the Idea of humanity.

Keep all this information in mind, because before we can discuss the connections between samsaras, Descenders, and the Primordial Man, we must take a detour into alchemy and psychology.

Primordial God Impact

Genshin Impact has always been about the primordial - it’s literally in the name: 原神, or yuan shen, which means ‘original god.’ Many other in-game items share this descriptor, including primogems (原石), Primordial Seawater (原始胎海之水), and the Primordial One (原初的那一位). The same characters are also used in the note from the Tower of Ipsissimus when referring to the ‘primordial human’: 原初之人, which as it turns out, is exactly the same word used for the Primordial Human Project.

The Primordial Human Project has been mentioned exactly once, in a cutscene from the Shadows Amidst Snowstorms event in version 2.3. There, Albedo refered to his doppelganger who had been wreaking havoc on Dragonspine as the “failure of the Primordial Human Project.” Albedo implied that he is the “survivor” of an experiment associated with the Primordial Human Project and considers it to be related to his origins as a creation of Rhinedottir, aka the alchemist Gold.

We know very little about Rhinedottir and her motivations. She’s a practitioner of the Art of Khemia, a member of the Hexenzirkel, is labeled a sinner and blamed for the appearance of monsters during the Cataclysm, made a dragon named Durin and sent him to Teyvat during said Cataclysm, where he caused destruction everywhere he went while thinking he was playing, and might have also made Elynas, who had a similar fate. According to Skirk, she, like Skirk’s master, is “pursuing some form of perfection.”

The Great Work

Rhinedottir’s alchemical research was focused on the creation of new life and she was familiar with an alchemical text called the Opus Magnum, which she left behind for Albedo to study. The Opus Magnum is a reference to the real life Magnum Opus, or Great Work, which refers to the alchemical process of creating the philosopher’s stone from the prima materia (original matter). The process typically goes as follows: nigredo (blackness), albedo (whiteness), citrinitas (yellowing) and rubedo (redness). Later Western alchemy would merge the citrinitas and rubedo steps into just rubedo, or include additional steps, such as the peacock’s tail stage between nigredo and albedo. Notably, the order of the last two steps in this process is reversed in the version of the process Albedo learned from Rhinedottir: rubedo is third, with citrinitas last.

This reordering isn’t universal in Teyvat: Rene’s notes disparage this choice, saying that Khaenri’ah is distracted from the true goal of the process:

..."Red" is the foundational principle, the philosopher's stone*, while "yellow" represents gold and mortal temptation. Yellow is simply bait. Red is the final goal. However, Khaenri'ah would likely seek the truth for gold's sake before turning that truth into a bread production pipeline…

[*This is the first and so far, only, time the phrase “philosopher’s stone” has been directly mentioned in-game.]

Rene has a somewhat ironic take on the Khaenri’ahn alchemical philosophy, given that Albedo’s character stories specifically say “Khaenri'ah was an underground realm, with precious few natural fauna. As such, its alchemy focused more heavily on the creation of life.” Rene often has strong opinions - but why would he care about the order of the Magnum Opus?

The Chymical Wedding of Rene de Petrichor

A recurring motif of the Great Work is the ‘chemical wedding.’ This refers to a union of opposites; male and female, sun and moon, fire and water, sulfur (Red King) and mercury (White Queen), etc, and is often depicted as taking place in a fountain. Here, in this drawing from a copy of the Ripley Scroll, sulfur and mercury wed and form the androgynous (like the primordial man) ‘philosophical child,’ which is philosophical mercury.

Philosophical mercury is the underlying principle or “divine flow” that makes alchemy and transmutation possible. Therefore, the goal of the Great Work was to pin down this mercury into matter through the four (or more) stages of the Great Work and make the philosopher’s stone [7,8].

"The Stone that is Mercury, is cast upon the Earth, exalted on Mountains, resides in the Air, and is nourished in the Waters." (Michael Maier's Atalanta Fugiens. 1617.) The cubes represent prima materia. ;)

The chemical wedding is also used as a motif throughout the story of the Narzissenkreuz Ordo. The Book of Revealing includes a schematic of the “Seal of Chymical Marriage,” which consists of a “Tree of Emanation'' and the “Four Orthants,” and was used to seal the Primordial Sea. The Tree of Emanation component is, of course, a version of the Kabbalistic Tree of Life - for more ramblings, feel free to check out my twitter thread here.

The Narzissenkreuz Ordo is likely intended to be a reference to the real life Rosicrucian Order, and the name of the seal a reference to an important text for this order called the “Chymical Wedding of Christian Rosenkreutz.” Other possible references to chemical weddings include Lyris being referred to as the ‘Red Empress,’ Rene using her power to dissolve himself and be reborn through the water, and Mary-Ann and Lyris fusing and eventually producing “pure water” aka Ann. Actually, when you dig into it, there are many suspicious interactions between sun and moon-coded gods in Genshin lore, as well as the doomed wedding of the Seelie and the traveler from afar. My Name For Now made a really interesting video about this, so if you would like more information and speculation, check it out here.

The Philosopher’s Stone and the Self

The philosopher’s stone is the Holy Grail of alchemy: an alchemical substance that can transmute base metals into silver or gold, make someone immortal, cure all illness, make a homunculus, and more. The stone represents perfection and spiritual refinement, either of nature through alchemy, or of the self (the alchemist) [8].

Carl Jung, the founder of analytical psychology, considered the steps of the Magnum Opus to represent the process of the individuation of the self from the collective unconscious. The similarities between his interpretation of alchemical symbolism and the ideals of the Narzissenkreuz Ordo deserve their own separate analysis, but in brief: Jung defined the collective unconscious to be the shared unconscious mind between humans, full of basic instincts and archetypes, which are primordial symbols that exist in many mythologies throughout the world. Jung compared the collective unconscious to the alchemical symbolism of water, which he describes as “wisdom and knowledge, truth and spirit, and its source was in the inner man [9].” The process of individuation separates aspects of the personality from the unconscious (the water) and then eventually integrates all components together, to form the individual self, which can now bring “order” to the unconscious (at least on a personal level)[10]. In other words, the Jungian interpretation of the Magnum Opus is that the final product, the philosopher's stone, is the Self.

If we apply this symbolism to Rene’s journey, it appears he was attempting to refine himself into a philosopher’s stone, which would explain why he was so interested in the work of the Khaenri’ahn alchemists. As he stated multiple times, his goal was to become a “primordial human,” whose will “can rival an entire world.” Rene’s philosopher’s stone is a Descender.

The Primordial Human Project

After Rene’s failed attempt to dissolve himself in Primordial Water and be reborn using Lyris’s power, Jakob turned to his own research to try to save Rene and complete his rebirth. In his log of this time period, Jakob wrote:

...I've been interpreting the data in search of a solution and sharing the results with Rene. There has still been no response, but I can already envision his response with perfect clarity: criticizing the Universitas Magistrorum for putting the cart before the horse, neglecting the fundamental principles underlying everything, and diving straight into the details of how to put those techniques to use... How they inverted even the alchemical stages for other purposes… ...It seems that there was an alchemist from Khaenri'ah named "R" who joined a secret order. From what fragmentary records exist, it appears that they made significant headway.

There are two items of note here; the first is the mention of Universitas Magistrorum, which previously had only been mentioned in a namecard description. The card description reads "O Almighty Sovereign, the Universitas Magistrorum has provided the predictions you requested: The two stars have been captured by the world's gravity…” which may be referencing Khaenri’ah’s summoning of the twins (Inversion of Genesis). From the context of Jakob’s notes, we can infer that this organization was also utilizing some form of the Magnum Opus for an unknown purpose.

The second item of note is the mention of the alchemist “R,” who is almost definitely Rhinedottir, and the “significant headway” that she and this mysterious “secret order” made. It’s very likely that Jakob is interested in Rhinedottir’s work simply because he wants to make a new body for Rene; the log also mentions Remurian golems and experiments with prosthetic limbs. However, the mention of her and the Universitas Magistrorum in the same context, with Jakob’s commentary on the reversed order of the Magnum Opus, gave me the idea that sparked this whole theory (descent into madness): Is it possible that Rhinedottir’s Primordial Human Project was intended to make a Descender?

Sometimes, very important lore gets buried in character stories. For example, the first time the term “primordial (hu)man” shows up - which is in Albedo’s fifth character story.

This art of creation was known as "The Art of Khemia." Albedo had learned of this in his youth from reading his master's notes. The next stage after "soil" is "chalk," which was also something his master had mentioned. "Chalk is the spotless soil, and was used to make primordial man." Now, Albedo understands alchemy in far greater depth than he did in the beginning, and his knowledge on the subject is far more comprehensive. "From soil was birthed chalk." The profundity of this statement is well understood by Albedo now.

Albedo is also the “chalk”; Rhinedottir gave him the title of Kreideprinz, or Chalk Prince. She seems to have a habit of naming her creations after types of soil. Durin was ‘humus,’ the Riftwolves are ‘alfisol,’ and Albedo is ‘cretaceus’. According to her, earth is “the basis of all life” and the “accumulated memories of time and lives,” so it makes sense she’d use soil as the starting material for her alchemical creations.

Albedo seems to be aware of the Traveler’s unique status, although he never names them as a Descender. During his Story Quest, Albedo studies the Traveler to get insight on how to help an alien flower bloom.

Albedo: The only other life form that, like you, has come here from afar, is the seed that I mentioned. Under the effects of Teyvat's natural laws, it isn't even able to sprout, let alone bloom. Albedo: But after I observed you, I had another idea. Albedo: Imitating you helped to inspire my alchemy, and so... Albedo: Is not nurturing otherworldly life also nurturing the world itself?

Following the experiments he performs on them, he reveals to the player that he lied about some of their test results, and even compares himself to the Traveler.

Albedo: I made a point throughout of telling them how ordinary the results were... Albedo: But what was that sediment I saw forming at the bottom of the vial? It should not have been there... What could it mean? Albedo: Those born of earth are bound by its imperfections, but those born of chalk are free of impurities... You and I are alike, both composed of a substance that has yet to be fully defined...

This leaves us with questions. Assuming Albedo is similar to the ‘primordial human’, what is his role? Is he a Descender, or is he meant to work to become one eventually, like Rene tried to do?

Let’s return for a moment to the Primordial Man and Adam Kadmon. Earlier, we discussed the symbolism of Adam Kadmon; this being represents the divine will to create, also known as the “primordial thought,” as well as the Idea of humanity. Adam Kadmon is the potential for creation unified together, with no distinctions between any concepts. Hermeticism and alchemy have a similar concept, succinctly summed up in the phrase “the all is one,” which can be found written on one of the earlier alchemical drawings of an ouroboros by Cleopatra the Alchemist [11].

In Gnosticism and alchemy, this symbol refers to unity of all material and spiritual things, as well the eternal cycle of destruction and re-creation as things change form [12].

Rhinedottir shared this philosophy, as evidenced by the description for Cinnabar Spindle, Albedo’s sword.

Separate the dust in the flames with joy, and extract the exquisite from the crude. For all in the universe comes from a single source, and all things may be derived from a single thought.

The weapon description also contains instructions for Albedo that likely tie into his expected role as a success of the Primordial Human Project.

You must pursue that which your elder brother, the one-horned white horse, could not accomplish. Reach the far side of philosophy, and create a new destiny for myself and your brothers…

Albedo’s final assignment from Rhinedottir is to learn the “truth and the meaning of this world,” a phrase echoed by the Abyss Twin in We Will Be Reunited. Knowledge is literally power in Teyvat: both Nibelung the Dragon King and later, Deshret, utilized Forbidden Knowledge, also referred to as a “power of darkness from outside of this world”, believing it to be the only effective power to defeat the Heavenly Principles. In fact, it’s even possible that the Dragon King was one of the Descenders despite presumably being native to Teyvat. The process of acquiring the Forbidden Knowledge could have evolved him to true Descender status, although this power appears to be incompatible with Teyvat, especially in the wrong hands. The power of the Forbidden Knowledge is similar to the metaphorical garden of the pardes myth, where out of four “descenders,” only one was able to safely leave, with the esoteric knowledge gained. The philosopher's stone also represents knowledge-it is the lapis philosophorum; literally the 'stone of wisdom'. Knowledge is also how one ascends in Gnosticism, i.e, achieving gnosis.

Perhaps this is the true method to create a Descender and Albedo’s future role: once he reaches the far side of philosophy (learns the truth and meaning of the world) and ‘evolves’ and ‘refines’ himself from albedo through rubedo and citrinitas to the philosopher’s stone, he can change destiny.

This sounds familiar…

Fortuna and Evolution

Rene’s calculations of the world-formula predicted that following the fulfillment of Fontaine’s prophecy, there would be no new civilizations formed from the ruins, as there presumably had been in the past following similar disasters. Rene believed the only way around this was for him to become a Descender, and save Fontaine from the disaster, beginning a new age. It’s implied in the text of the Book of Revealing (the version in the WQ) that the fulfillment of the prophecy would spell disaster for all of Teyvat, not just Fontaine, but even if that were not the intent of Celestia, we can use this example as an analogy for the world-formula of Teyvat.

Rene directly compared the world-formula to the Remurian concept of Fortuna:

Kingdoms rise and fall, and when a civilization is annihilated, a new one will be born after from the ashes, which these books refer to as "Fortuna"... It's somewhat rudimentary, but theoretically at least, it bears striking resemblance to the computational scheme I have formulated and termed "world-formula"...

Let’s spin the wheel of Fortuna and return to the beginning, where we first discussed the four samsara cycles of spiritual evolution and the Four Worlds. Although the samsara cycles don’t refer directly to actual historical events, their names are based on ancient texts. It’s not a large leap in logic to suggest that each of the four samsaras refers to eras in Teyvat’s history- what others in the lore community have been referring to as ‘root-cycles.’ For example, the defeat of evil dragons associated with the Natlantean samsara could refer to the war between the Primordial One and the vishaps described in Before Sun and Moon, or the war between the Heavenly Principles and the Dragon King (which might be the same thing!). The events associated with each samsara must be what ends the samsara, since the fourth, Khraun-Arya, is the current, and represents freedom from the gods, which has not happened yet.

Given that the Descenders can (theoretically) change the result of the world-formula/Fortuna, it can’t be a coincidence that there are the same number of Descenders as there are known samsaras. In addition, if the four samsaras of Teyvat function like the Four Worlds of Kabbalah, that means that a samsara-ending event would be something that results in the evolution of the world. Apep says that during the war between the Dragon King and the Heavenly Principles, Teyvat was in danger of collapsing, and that the victor of the war would “inherit the right to shape the world”. This sounds a lot like Rene’s definition of a Descender: one that can protect the world, sustain the world, destroy the world, and create the world. The death and disassembly of the Third Descender led to a significant change in the “order” of Teyvat when the Gnoses were created to replace the “ruined” functions of the Heavenly Principles. Put another way, Descenders are able to evolve Teyvat into its next stage of evolution.

The fate of the Third Descender and ruined functions of the Heavenly Principles suggest another, alarming component to the relationship between samsaras and Descenders. It could be that as part of the process, a Descender must replace or repair an aspect of the mechanisms that maintain Teyvat. Don’t worry about the Traveler though; the fourth descender of the pardes legend gets to leave the garden in peace.

On the other hand, the first Descender in the legend is the one who dies, and in Genshin it’s the third, so maybe the list isn’t exactly in order. Of course, this comparison to the legend is partly a joke, but it is very interesting that the metaphor for apostatizing is uprooting trees….

Khaenri’ah’s World-Formula

We know from Rene’s notes that Khaenri’ah had their own version of a world-formula, or at least, their records contained information Rene could use to reverse engineer their predictions. We don’t actually know what he found there, but based on the name he gave the fourth samsara and the whole “freedom from the gods” thing, it seems they were trying to evolve Teyvat into the next samsara and make this freedom a reality. We also know that the Khaenri’ahns were searching for a specific kind of power, a power they referred to as both a “perpetual” energy source and a “secret from beyond the skies” that could “throw off the shackles imposed by this world's laws.” This power from “beyond the skies” is thought to be some form of Abyssal power, and the Khaenri’ahns who used it seem aware of a will contained in that power, a “dogma from beyond the heavens.” In fact, it’s possible that this power is the same as the Forbidden Knowledge brought in by Nibelung, which also had an influence on Apep’s behavior when they were infected with it after eating Deshret.

It appears that Khaenri’ah was familiar with something similar to the concept of a Descender, which makes Chlothar’s words to the Traveler in Caribert all the more impactful.

Chlothar: I never imagined that you, of all people, would deny the Abyss... How ridiculous! Chlothar: We once believed that you would bring new strength and hope to Khaenri'ah. Chlothar: To us, you were the Abyss... A wondrous mystery far beyond our imagination and comprehension... Chlothar: ...And the one who controls the Abyss can control everything! Chlothar: We yearned for that future. We looked to you to take us there.

The Future

As mentioned previously, the Four Worlds of Kabbalah are all precursors to the actual material reality, which will be emanated (created) from the fourth world. Luria believed that our world was not yet completely realized and needed another spiritual push from humanity to be actualized. (The mechanics of this won’t be discussed here - so consider this a teaser for Part 3 of Kabbalah theory.) Therefore in Kabbalistic terms, this fifth samara, this fifth world, would be the final and true reality for Teyvat.

This would be why Khaenri’ah needed a Descender or even merely a power that could defy the Heavenly Principles. That was why they summoned the twins, and why projects like the Primordial Human Project existed. It’s ironic that in their desire to remake the world in the image of their dreams, where they were free from the gods and the Heavenly Principles, they chose in the end to bind themselves to a will from beyond the sky, which ended up in catastrophe.

As the letter in the Khaenri’ahn ruins of Gavireh Lajavard says: “The gods are untrustworthy and the demons, ineffable. If there is one thing that can pry open the corners of this hollow world, then it can only be human will.”

Congrats on making it to the end! As you can see, this was already reaching a ridiculous word count, so there were some things I had to leave out, or only briefly touch on. So here are some people and concepts I pretended didn't exist so this didn't get (more) convoluted, but you should read about them: Crowley and True Will, Nietzsche and the overman, Zoroastrianism as a whole, but particularly their version of the Primordial Man, William Blake's prophecies (his Auguries of Innocence is a big inspiration for the artifact lore), Schopenhauer and Will, Atman and Brahman, Plato's concept of the world-soul, SWORDS (in Genshin lore), the Holy Grail legend, and shoutout to Otto Apocalypse the real First Descender. I do want to point out that some of the (real) people on this list, like Crowley, either were terrible people who believed terrible things, or had their philosophy used for terrible things. This also applies to other inspirations for the Narzissenkreuz Ordo. Please keep that in mind when engaging with these people's work.

On a lighter note:

Sabre’s Fun Fact Science Corner aka Miscellaneous Stuff I Need to Put Somewhere

I didn't want to have to get into explaining the lore of another piece of media but yes, this theory was inspired by a binge watch of the last arc of Fullmetal Alchemist: Brotherhood, transmutation circles and philosopher’s stone and all

On the topic of FMAB, the The Black Serpent Knights archive description states: “The long years and a curse seems to have robbed them of their reason and memory. Now, all that remains within that armor is the will to ‘fight for something, someone, and some matter.’” Funnily enough, the subtitle of the Knights is ‘Aldric’ - Alphonse Elric, anyone?

Caribert becomes the Loom of Fate to “weave his own destiny anew”, Albedo has the Cinnabar Spindle and instructions to create a new destiny - I’m sensing a theme here

Rene believed that getting a Vision was a bad thing in the process of actualizing your Will, and resulted in you selling your fate to the world. So he developed a ritual to remove a Vision from an allogene (this is only mentioned in passing by Caterpillar). So even though Albedo has a Vision, he’s not out of the running to become a Descender. But also Rene was wrong about stuff so ¯\_(ツ)_/¯

The anthropomorphic imagery in Lurianic Kabbalah can get pretty bizarre, but in a fun way if you're into Genshin lore. Adam Kadmon is described as emanating divine light out of his face, specifically his eyes, to create the next world. Genshin eyeball lore is my roman empire.

As a full elemental dragon, Apep had a “world” inside their body. Rhinedottir seems to like dragons a lot; I wonder if she considers them to be similar to the primordial human. Also, there's evidence that the Traveler's elemental abilities mimic those of the elemental dragons, rather than the archons.

References:

Toseftah Hagigah 2:2 Babylonian Talmud Hagigah 14b, Jerusalem Talmud Hagigah 9:1.

Introduction to Kabbalah and Jewish Mysticism - Part 3/14 - Merkabah Shi'ur Komah & Sar Torah

Introduction to Kabbalah and Jewish Mysticism - Part 10/14 - Christian and Lurianic Kabbalah

https://www.jewishencyclopedia.com/articles/761-adam-kadmon#anchor10

https://www.jewishvirtuallibrary.org/adam-kadmon

https://www.chabad.org/kabbalah/article_cdo/aid/380321/jewish/Chaos-and-the-Primordial.htm

https://dpul.princeton.edu/alchemy/feature/the-chemical-wedding

https://www.scribd.com/doc/11441835/The-Four-Stages-of-Alchemical-Work

Jung, Collected Works vol. 14 (1970), Mysterium Coniunctionis (1956), ¶372 (p. 278) via Wikipedia

https://en.wikipedia.org/wiki/Analytical_psychology#Individuation

https://en.wikipedia.org/wiki/Chrysopoeia

https://www.britannica.com/topic/Ouroboros

https://www.gla.ac.uk/myglasgow/library/files/special/exhibns/month/april2009.html

https://alchemywebsite.com/rosary0.html

https://www.alchemywebsite.com/rscroll.html

#geshin impact #genshin lore #albedo #narzissenkreuz ordo #rene is my poor little meow meow #tfw you write a 6000 word theory because you miss albedo so much

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indieyuugure · 11 months

Note

What are the mystic powers of each TMNT 2012 member? Like, what are the capabilities of each one?

So I based their powers loosely on their given elements in the “Vision Quest” (s3 ep8). So that’s 火(Fire) 森(Forest) 風(Wind) and 山(Mountain). Though Mikey’s was changed to lightning (電) as a reference to “When Worlds Collide” (s5 ep5-6) when he accidentally got lightning powers. As for their capabilities:

Raph: he’s able to create fire with his hands, feet and breath. His mystic sais that he got from Draxum work by enhancing his power and help him control the power into something manageable. He’s immune to the heat of his own flames, though he can burn others, so he has to be careful. It essentially has the same rules and functions as Fire Bending in AtLA.

Mikey: His power is very similar to the lightning power he got in “When Worlds Collide.” His body generates an electrical field that he can discharge at anytime as lightning strikes. His mystic nunchucks work the same as Raph’s sais, they enhance and control his power so it’s easier to control. In addition to being able to zap things, he can also speed up his movements into a blur.

Leo: He can create air currents and to a certain degree rain as well. His power allows him to be light on his feet which helps him reduce the pressure on his poor knees, and grants him greater agility by being able to jumping higher, farther and faster; and run faster. He can put more force behind his strikes and can completely eliminate all sounds. His swords aren’t mystic, they’re just the normal twin katanas he used to beat the Shredder, but the blades give him a point of focus for his power.

Donnie: His power gives him the ability to manipulate stone and metal. His power works by forming a physical connection between his body and the surface he wants to control, this is like a touch with his hands, feet or Bo staff. Once he’s touching the material, he’s able to shape it to his will, whether that be splitting open a concrete wall or holding up rubble. His Bo isn’t mystic, same as Leo’s katanas, but similarly he can use it as a point of focus to direct his energy. It works almost identical to Earth Bending in AtLA cause I’m really original :]

Awesome question! I think I dropped some of the concept art for these awhile back(I put the links bellow). Thank you! ^v^

(Raph+Mikey) (Leo+Donnie)

#tmnt #rise of the parallel #q&a #mystic stuff

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doeeyyeed · 8 months

Text

altar breakdown for beginner witch ☾ ⋆*･ﾟ:⋆*･ﾟ

an altar is like a temple in miniature, a diorama if you will, that contains small representations of the different types and directions of energy, categorized as elements: earth, air, fire, water, and spirit. These elements correspond to the suits of the Minor Arcana in the tarot. ☾ ⋆*･ﾟ:⋆*･ﾟ

In Wicca:

✡Water is represented by the ritual cup, or chalice, which is just a Christian word for cup. In the Minor Arcana, the cup (water) is a mystical shorthand for emotions.☾ ⋆*･ﾟ:⋆*･ﾟ

✡Earth is represented by a pentacle, or five-pointed star, constructed of a natural substance, like wood or metal. In the Minor Arcana, the pentacle references foundational matters of physical practicality, labor, and money.☾ ⋆*･ﾟ:⋆*･ﾟ

✡Air is often represented by an athame, a ceremonial witch knife, usually dark-handled (as opposed to the boline, a traditional white-handled witch knife used for everyday things like cutting herbs or carving), or by a sword (if you have that kind of space and you like LARPing). In the Minor Arcana air is represented by the blade, which is meant to indicate the uncanny quality of thought and language as tangible forces in the world, cutting through space. Which, incidentally, is what people actually do with their blades in ritual: point them as if to cut through the air, thereby directing energy.☾ ⋆*･ﾟ:⋆*･ﾟ

✡Fire element is represented by a wand. Wands are usually about a foot long, give or take, composed of wood, metal, precious stones, or some combination thereof. In the Minor Arcana wands (fire) are used similarly for directing energy, and in Wiccan liturgy, they are meant to symbolize one's deeds and actions. (some folks like to reverse the two and use wands for air and thought and knife/sword for fire and action) ☾ ⋆*･ﾟ:⋆*･ﾟ

✡Spirit is the animating force, often represented by the image of some deity.☾ ⋆*･ﾟ:⋆*･ﾟ

Keep in mind, use what best resonates with your style. ☾ ⋆*･ﾟ:⋆*･ﾟ

source: Book: Enchantments A Beginner Witch's Guide by Mya Spalter

#witchcraft #beginner witch #witch altar #wicca

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