i’m not here to claim that wyll doesn’t deserve more extra content or that larian’s perspective of him isn’t rooted in racism in any way whatsoever. however, i sincerely believe that it’s always important to list the facts first before misinformation continues to spread which only results in more needless outrage.
these are all of wyll’s scenes that exist in the game as of now:
meeting karlach, mizora, and his transformation, the tiefling party kiss, the dance scene, mizora visiting camp, another scene where mizora visits camp, and the proposal scene. additionally, mizora and uldred can join camp, if he is alive.
in strict comparison - this is the exact amount of scenes the other origin characters have:
Astarion has 9 scenes, 6 of which can possibly be romantic.
Lae’zel has 7 non-standard dialogue scenes, 3 of which can possibly be romantic.
Shadowheart has 6 non-standard dialogue scenes, 3 of which can possibly be romantic.
Gale has 6 non-standard dialogue scenes, 3 of which can possibly be romantic.
Karlach has 4 non-standard dialogue scenes, 3 of which can possibly be romantic.
Wyll has 5 non-standard dialogue scenes, 2 of which can possibly be romantic.
source: [x]
wyll is lacking one scene compared to characters like shadowheart and gale. lae’zel merely has another non-standard dialogue scene, while astarion has double the amount of possible romance scenes and 9 scenes in total.
here is a video of wyll’s entire story: [x] at a duration of 2:25:24 in total it’s very similar in length to the romances of the other companions the same channel uploaded. (minthara & halsin excluded)
i have also seen many people refer to the datamined voicelines as proof of how much content wyll lacks. this, however, doesn’t tell us much since those compilations include battle grunts, noises, and other repeated lines. if you want to check them out for yourself, here is chubblot’s playlist on youtube: [x]
wyll’s romance/approval-specific greetings also exist, they are merely bugged. although i have heard that some people have been able to trigger them. bugged content is something that also affects other companions – in fact, most of gale’s romance scenes and some integral dialogue have been bugged for months now with no fixes anywhere in sight. if you don’t want to look for wyll’s greetings in the files, i took the liberty of doing it for you:
alas, his general reactivity after act i remains the same as with the others. aka: he's barely responsive to his surroundings nor to any key decisions the player makes.
wyll also isn’t the only character who isn’t able to make his own choice on whether he agrees to sell his soul for his father’s life or not. in fact, the only characters who can decide their own fate are shadowheart and lae’zel. the latter option only now being added with patch 6.
so what exactly did wyll get after patch 6? the same amount of kisses like everyone else: 4 in total. as well as some new idle animations and polished facial expressions. the kiss where he invites tav for a quick twirl had already been added in an earlier update (patch 5, 30th november 2023). which means it’s understandable that certain characters who didn’t receive any new animations or other content before were now added with patch 6 as well.
wyll’s quest regarding ansur also didn’t get removed from the game. this is plain false. larian merely changed the subcategory in the journal (which larian had done previously with astarion’s gur-related quest as well)
if you have a gripe with this particular decision: that is valid. the quest, however, is still the exact same as it was before.
i see fandom heading in this really dangerous direction where people fully believe they have the right to attack others for pointing out the existence of false information. i understand that people are upset about wyll having less content than characters like astarion and i am in no way here to claim that you should refrain from calling out racism where it’s due. however, this hostile behavior directed at anyone who dares to disagree with you is creating a really toxic environment within online spaces, where people hesitate to engage with the wyll side of the fandom at all (out of fear of immediately receiving the racist card for merely correcting inconsistencies in logic). and in case it needs to be said again: it is never justified to harass real people or send death threats to others under any circumstances, much less if it concerns a fictional character.
i, much like everyone, really want wyll to receive more love from fandom and larian alike. but it is no one’s place to police other players on how they should engage with this specific character in their own game. if others simply couldn’t connect to wyll as much as you personally have – for whatever reason – that is on them. it's them who are missing out. this shouldn’t hinder your enjoyment of this character in any way or discourage you from creating more fan content.
TL;DR: it’s completely valid to request more wyll content, but please don’t resort to “demands” or public pressure directed at the devs. this is only doing more harm in the long run (to wyll’s, as well as his fanbase's reputation within the rest of the fandom instead of actually accomplishing much). don’t spread misinformation that he’s the only one of the companions who is continuously receiving the short end of the stick in terms of content, general reactivity, and bug fixes. if anything, the biggest difference is between him and astarion (again, much like every other companion).
🙏 please be respectful to each other 🙏
update, 19th february:
a user suggested providing an alternative to petitions on this post and linking directly to larian’s official feedback form, which you can find here: [x]
you’ll be able to add screenshots of the specific issue you’re reporting. keep in mind that you need to name your exact game version if you plan to send in a report. i’ve had larian ask me to send them the specific game files in the past, so it’s best to keep them on hand in advance.
larian also has a faq page on how to submit a general bug report [x]
here is an example of what to write:
(I’d like to address the disparity in content between Wyll and the other origin companions.) As of now, Wyll is lacking an entire scene compared to the rest of the characters, and his romance-specific greetings remain bugged as well. The lack of equal scenes makes Wyll’s story feel lackluster at times and undermines the pacing of his romance and overall character arc. It is very disheartening for POC players specifically to see racial biases reflected in his treatment and that Wyll didn’t receive the same amount of resources. Considering his narrative role as the Grand Duke's son he also deserves to be in the spotlight. When can we expect any fixes or additional content?
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quick small fyi
Hi. Hello. Putting ~that~ copypasta in my ask box makes me sad. If that’s your intention, okay! But to me it feels like a joke about my sexuality, or else about other people’s sexuality, and it just bums me out. I try to play it off as a joke a lot because I do not know what else to do about it, and because I know the social Internet is essentially in the business of devouring all which is earnest, but yeah.
I don’t totally understand why it makes me sad, and the parts of it I do understand I am not really interested in sharing. But I think a lot of people maybe don’t know that it makes me sad, and are not trying to make me feel bad, so this is a post to let those people know.
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Suggested Reading
Threshold Theory
Energy Work Fundamentals
The Subtle Body
Spell Design
Spell Dictation
Sigils: How-to
Intro to Gnosis
Anchors
What is a Spell Circle?
Spell circles, while they aren’t necessary, are a tool that is used as a focal point for a working. They are also very helpful in aiding in headspace via the implementation of aesthetics. Spell circles are technically hypersigils, or a complex sigil that is typically constructed of multiple sigils in tandem. They are typically constructed of three parts: Incantations, foundations, and root sigils. They are used in a ritual format, typically with each practitioner having a standardized approach to using them for spell work.
How do they work?
A spell circle is similar to a sigil in the way that there is an incorporation of intention, energy, passion, and focus in their creation. Spell circles operate most effectively within the energetic model or something adjacent. The psychological model will be entirely ineffective; at least as I have prescribed their creation in this article. They often contain sigils as well as some other elements that serve to connect the circle to the overall working. These elements include incantations, words, phrases, symbology, geometric/organic designs, numerology, etc.
Incantations, words, or phrases can be said out loud as part of the working (provided that doing so doesn’t break gnosis), or written out and burned into ash and incorporated into the working through that process. Though they can also be incorporated in other ways as well. As an example, you could write a song and record it and have the tablature or staff wrapped around the perimeter of the spell circle. You could then listen to the song while casting your spell using it as a centerpoint of your gnosis.
The other elements of a spell circle are used to enhance the threshold of the root sigil or purpose. Each additional element adds a node, or correspondence, to the threshold of the spell. Doing so helps refine the accuracy and potency of the working.
Designing a Spell Circle
If you have experience working with sigils, then designing a spell circle can be pretty easy. I highly recommend using programs like procreate to make these, or drafting tools! Freehanding them can be quite difficult without any experience with technical drawing. I use my tablet to draw them digitally and then trace them onto a burnable substrate such as paper.
Incantation(s)
An incantation is a phrase that is said that astutely states the intent of the spell. It is important to have this memorized, if you use them. Without having them memorized, using them will pull you out of gnosis by disturbing your focus. Incantations are like the thread that binds the spell circle to the rest of the working, especially if you use other tools, sigils, etc. When I construct my spell circles, I use the pronunciation of my sigils as the incantation, which are all aspects of a conlang that I developed. This can be seen as a sigil chain. So long as the incantation is written somewhere on or near the circle, then it is capable of being connected to the burning of those sigils via the incantation. I find that having the incantation encircle the root sigil is the most aesthetically pleasing for me.
Root Sigil
This is a sigil that is at the core of the circle. It should represent the base goal of the spell. This sigil is connected to the rest of the circle via the Foundation(s). Like all sigils, it is important that it is drawn while channeling its meaning through your mental state, emotions, and subtle body to be most effective.To create them, I will draw the enclosing circle first before drawing a grid within it. This grid is then used to ensure that the root sigil is centered and scaled appropriately. The sigil is always the first part that I draw. Here are a few examples of sigils I have used for spell circles:
Foundation(s)
Foundations are simple designs that each have their own correspondences. Some foundations use numerology to derive their meaning, others are given their meanings based on how they interact with the root. The foundation(s) used should also align with the purpose of the spell; but more specifically, to describe the means of manifestation of the spell to some degree. They can also be used to expand the context of the root sigil, ex. Whether it is intended to be a blessing or curse. I am always sure that when I draw them in the grid, that they appear to be a part of the sigil, yet also behind it by having the lines stop and continue any shapes that are a part of the sigil, like circles, triangles, and squares. Here are a few foundations that I use:
Associative Symbology
These symbols are things I don't really implement in spell circles myself, but include things such as astrological symbols, alchemical symbols, magical alphabets, color, and imagery. These symbols are typically incorporated in equal distribution around the circle in radial fashion, but can also be used in other configurations. The number of symbols can be implemented with numerology in mind as well. Colored line-work can also be used to further the correspondences. Imagery such as pictographs can also be used, following similar implementation as other symbols.
Applications
Spell Circles can be used for all sorts of workings, typically in a ritualistic fashion. However, they may also be used as passive sigils, meaning that they are placed and affect a specified space gradually over time. If they are used in this fashion, they will need to be revisited and charged periodically. When using a spell circle in a ritual, place them underneath the central spell elements such as cauldrons, candles, bowls, etc. Please use discernment. Fire safety is of the utmost importance. Once the spell is in motion, use the incantation that connects the circle to the working. I highly recommend rehearsing your incantation until it is memorized so that your spell’s effectiveness isn’t hindered. I highly recommend placing a spell anchor onto your spell circle as well so that there is a direct medium holding it. This way the spell can be recharged, broken, or altered as necessary.
Ritual Closing & Disposal
As part of closing any working, it is important to close off all energy that is connected to the working other than the anchor. Part of this is disposing of the spell circle in a responsible manner. This can be through responsibly burning it and burning the ashes, burying the spell circle itself (Provided it is on a biodegradable medium), soaking it in water to dissolve the ink and then cleansing the medium, or if it is drawn on a dry-erase board you can just erase it and cleanse it. When burying the ashes of your working, try to use your discretion as to which direction it is buried relative to your sleeping place or place of casting.
Identifying a Spell Circle
A few popular designs for spell circles have been misidentified in the past, specifically those of John Dee, who was a prolific cryptographer. These designs have a lot of the hallmarks of spell circles; however, they are enclosed with 72 latin letters, which don’t have any magical or mystical correspondences, but are very common in encryption wheels, and then are encoded through biblical reference. The influence his work had was very substantial in the development of spell circles and their design. While his encryption circles can be used for magic, like any other design drawn through intention, passion, and gnosis, it is obvious that it was not intended as such given the historical context of his life.
Interested in my other articles? You can find my masterpost here.
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The Eye of Micheal design and the Zia Sun Symbol
I'm not exactly the best person to talk about this, since I'm not Zia/Tsʾíiyʾamʾé (an Indigenous people group from what is today called New Mexico, for those who don't know) but I'm also Indigenous and this is something that has been really bugging me for a while.
The new eye of Micheal design in Stampede is very clearly heavily based off the Zia Sun symbol, a symbol that is found on the state of New Mexico's flag... and is originally a sacred symbol of the Zia people that has been grossly misappropriated by the state itself and internationally.
ID: Two photos. Left is of the flag of New Mexico, with the Zia Sun symbol in the middle in red on a yellow background. There are four rays emanating from each cardinal direction from a circle in the middle, in such a way it forms what could be a 'square cross'. The rays touch the circle.
Right is a screen cap from episode 10 of tristamp, showing Wolfwoods contract. The symbol of the Eye of Micheal is on it. Instead of four from each cardinal direction, 'north' has three medium length rays, and 'south' has three long rays, while 'east' and 'west' have only one short ray emanating from (but not touching) the centre circle. As a result it looks like a typical Christian cross with a lengthened 'south'.
History
This article provides a really good background on it, but to summarize:
The symbol is an exceptionally significant religious symbol that represents the Zia themselves (along with other specific meanings) and is involved in religious healing and wellness processes; it was originally a secret symbol. However, the symbol was stolen from the nation by an anthropologist who was working with the nation, when he stole a piece of pottery with the symbol on it. The piece of pottery with the sacred symbol was then showcased in a museum, where another anthropologist took the design and submitted it for the flag of New Mexico; thus, it ended up becoming the state flag of New Mexico as we know today.
As a result, the design became legally public property, without the consent of the Zia, who now have no control over how the sacred symbol is used, and it has been grossly misappropriated and exploited by non-Zia, both within state and internationally. The Zia peoples have been lobbying to raise awareness of this issue, to both stop exploitation and frivolous use of the symbol which is considered desecration, and also have requested that those who want to use the symbol to ask for consent and for them to provide funds to the education of their children.
How this applies to tristamp
The Zia Sun symbol is, well, to put it bluntly, basically used as the symbol of the Eye of Micheal, just altered to more represent a typical Christian cross... something which would be considered misappropriation and desecration of the symbol. This ESPECIALLY so as the Eye of Micheal is clearly a Christian cult; misappropriating an Indigenous religious symbol and saying that it represents Christianity and a Christian cult no less, is, as an Indigenous person, EXTREMELY disrespectful, considering the history of Christianity and how it's been used to actively destroy Indigenous religion and culture. Also, as the symbol has been said to represent the Zia people, and is related to religious healing and wellness processes, having the symbol basically be used to represent an Christian cult of assassins who essentially medically experiment and abuse Wolfwood who is Hispanic-coded for their own gain is... Not great.
I overall understand that since as Wolfwood is heavily Hispanic coded, the crew behind stampede likely wanted to tie more of that into his background, and so seeing the Zia Sun symbol thought that would be a good way to nod to a Hispanic background (instead of, I dunno maybe not white washing him), but then failed to do proper research on it.
Going forward
Ok, so what does that practically mean for fans? Well, again... I'm not really the best person to say exactly what, but if this was my own nations sacred symbol, and by going from what I've read on the requests about the Zia Sun symbol then here's a few pointers:
I'd just avoid using the design in fanart. Hell, it's only showed up in tristamp, so there's plenty you can work with without the design, based around just general Christian imagery. I know a lot of people really like giving Wolfwood tattoos of the 'eye of micheal' symbol, since tattoos are hot, but I'd ask to please just use Christian symbols instead. I've seen so much nsfw fanart with essentially the Zia Sun Symbol...
For art you've already posted with the Zia sun symbol; it'd be nice to remove the art and put another version of the art up without the sun symbol.
Also, I know I've seen people talking about getting tattoos of it as a quiet nod to trigun... Please don't. It's more likely that people will recognize it as a Zia sun symbol rather than a Trigun symbol which might be an awkward conversation for you.
I do want to say this: I know most people don't know about this, and honestly I didn't know about the Zia sun symbol issue until a couple months ago when talking with a friend about Trigun. It's fine if you didn't know before! We live and learn and grow, and what matters is that going forward you adjust your behaviours.
TLDR: The 'Eye of Micheal' symbol is very clearly an adjusted Zia sun symbol, a sacred and originally secret symbol of the Zia people that was stolen from them and has been grossly misappropriated and exploited by both the state of New Mexico, and internationally. The Zia people as a result have asked people to not use the symbol without their consent. Within tristamp the use of the Zia sun symbol to represent a murderous Christian cult is extremely disrespectful and would be considered desecration, considering how Christianity has historically (and continues to) help destroy Indigenous culture and religion. As a result, it is suggested that artists avoid using it within fanart out of respect.
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What is whump?
I get asked this question a lot so I figured I'd just make a post about it! I doubt a lot of people will see this since I'm a small whump blog but at least a few people will have a quick reference.
The short answer is that whump is a fictional genre of media. Like any genre, it's difficult for one person to entirely characterise but I'll do my best.
Whump is a fictional genre focused on the experience of pain. This can be physical pain or emotional pain. The pain could be acute or chronic. The focus could be on the recovery from the pain or on the pain itself. It's a super versatile genre!
Some frequently asked questions:
Okay, but how is this different from hurt/comfort?
This is a complicated question (hard to entirely characterise an entire genre, eh?) and it really depends on the writer. For me, hurt/comfort is a subset of whump where the comfort is required whilst whump is the larger, overarching genre where comfort is not an absolute necessity, but many others have different opinions!
What is a whumpee?
You'll often hear writers (especially prompt writers) in the whump community refer to characters as 'whumpee', 'whumper', and 'caretaker'. These are placeholder names like your good old A, B, and C. 'Whumpee' refers to the character experiencing the pain (literally 'the one being whumped'); 'whumper' is the (optional) character causing or contributing to the pain; and 'caretaker' is the (also optional) character helping care for the whumpee and alleviating the pain.
Why would I support someone who thinks people should experience pain?
Pain and adversity are facts of life. In fact, many of us as whump writers and readers engage with the genre to cope with pain and adversity in our real lives. It's important to remember that whump is a fictional genre and someone's interest in the fictional themes portrayed really aren't a reflection of what goes on in their real life. The name 'whump' may be contemporary but this is definitely not a contemporary genre (Shakespearean tragedies anyone?) so there is no use criticising its existence. If you don't like it, that's okay! Scroll on by and block the #whump tag if you need to. Like many artists, we're an accepting community and won't judge. In fact, we probably understand better than most that there is too much pain in the world and not everyone wants to read about more of it.
What's the difference between whump and BSDM/kink?
This is a complicated and very individualised answer. The oversimplified answer is that BDSM and kink are explicitly sexual/sensual whilst whump is not necessarily related to sex. But that is extremely oversimplified and doesn't cover all or even most people's experiences with either whump or BDSM/kink. The most generalised answer I can give is that whump is an overarching genre whilst BDSM and kink are individualised cultural practices and activites. But even that needs nuance and context to understand and apply. For me personally, I don't like combining the two because I experience them in very different ways, but that's just my experience!
Edit: I realise that I was not clear in the above answer. BDSM and kink are absolutely not inherently sexual at all. In my personal experience, I've found there to be a lot more overlap between BDSM/kink and sexual experiences than with whump but this is not true for many and maybe most people. No one person is qualified to answer this question.
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big informational post on israel & palestine
before i start, i want to say that the end goal is not defeating one side or the other. we want peace, for both nations to exist together. there are innocent and good people in both israel and palestine. here is a thread with basic information on the conflict.
trigger warning: mentions of amputations, chemical weapons, burning, general death and blood.
right now, there is a genocide happening in palestine. israel is using banned weapons that may not seem illegal to use, but are being used to kill innocent people who had no intention of joining nor fueling the war. this is a war crime.
DIME (Dense Inert Metal Explosive) are explosives made to release shrapnel that amputates the skin. this leads to limb loss & bleeding out. even after the limbs are amputated, victims have a high chance of dying from cancer as DIMEs were found to have carcinogenic tungsten.
White phosphorus bombs. I cannot explain in words how horrifyingly inhumane these are. White phosphorus can be released indoors as smoke, and contaminate water. They cause 4th & 5th degree burns, indefinitely burning as they go up to 1499 degrees Fahrenheit (815 degrees celcius) and the human body can only handle up to 122 degrees Fahrenheit (50 degrees celcius). White phosphorus is also highly flammable, and can be reignited during treatment. here is a thread with more information.
Armor piercing bombs. As implied by the name, they can penetrate metal and travel long distances. Armor piercing bombs are designed to pierce through bunkers, warships, and heavily enforced targets. They can easily destroy buildings and famously sunk the USS Arizona in 1941.
boycotting
the main companies to boycott because they support Israel are Mcdonalds, Starbucks and Disney Plus. my main advice is to PIRATE ALL YOUR MOVIES! here is a twitter thread on all starbucks recipes, and a helpful thread on how to safely pirate content.
blumhouse, the studio behind, FNAF MOVIE supports Israel. pirate the movie if you want to watch it.
Google also supports Israel, and recently removed Palestine from Google maps. some Google alternatives are
Lingual search
ecosia
duckduckgo - however there is speculation of data tracking.
here is an INCREDIBLY helpful google docs of all windows browsers that they could find made by @friendofthecrows
how to help?
talk about what's happening. tell a friend, post about it, repost information. if you feel the anger and resentment that this is happening across the world, don't lose your passion. you CAN make a difference. you are not only "one person". there are thousands of people fighting for peace. feel passionate, and keep fighting.
donate to charities, if you can. here is a thread of trustworthy charities to donate to. if you cannot afford to, arab.org generates web revenue that is donated to Palestine. clicking every day can support freedom, for free. no registration nor credit card information is needed.
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i don't see anything in your pinned about this, so is it okay if people use your prompts? and if so, how would you prefer to be credited? :D
Is it okay? I am begging you to use my prompts! Please, I want to read the fics but I do not want to write them! That’s why I run the prompts blog! 😂
As for credit, if it’s posted on tumblr just @ me! If it’s on Ao3, drop my blog name in the notes before or after the story (@irondadmadlads).
You can also credit my Ao3 (Chara426) but not as many people know me by that name.
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"Budgie City" — how is it organized and what is the story about?
Hello, I'm glad you decided to read my lore article about "Budgie City". The second article talks about where this world came from in general and how I came up with the idea. If you haven't read that article yet, you can check it out here. This article right here will tell you about the world itself and the society of the budgies, as well as describe the plot of the book in general terms. I remind you that the book is currently in the process of writing and will only be published when I have finished it completely.
Fundamentals of the "Budgie City" world
Yes, this is a story about talking animals, in particular, about birds! Set in a world much more wild than our own, filled with lush forests and untouched lands, you can meet the wild variety of birds (the story focuses on parrots though) you may know from all across the globe. From Australian (Cockatoos, Cockatiels, Grass parrots, etc.), African (Lovebirds, Ring-necked parakeets, Grey parrots), and South American parrots (Macaws, Amazons, Short-tailed parrots) to Weavers, Sunbirds, and occasionally even birds-of-paradise - you may find a broad spectrum of non-predatory birds residing right here.
But, of course, the bulk of the population of Budgie City, the main setting of the story, consists of colorful budgies. The city is essentially a large colony that has developed enough to turn into a complex system that depends not only on internal organization, but also on foreign trading. Trading between colonies in their world is based on barter, though inside cities there are local currencies — in most cases they are not metal coins, since metal is a rare and heavy material for birds, but they have their own kind of money equivalent.
The only species that has mastered metallurgy are African Grey parrots. Their colonies settle near volcanoes, and they are one of the only birds strong enough to handle such heavy materials. Therefore, metal is the main trading resource for them.
To show you what other species living in the city have to offer, I have this small excerpt from the first chapter that summarizes this quite concisely:
"Large parrots, due to their large carrying capacity, could easily transport quite bulky baskets with all kinds of food or raw materials, therefore, instead of independently transporting goods to other colonies, the budgies simply unloaded the goods large parrots brought, loaded them with their own and sent them back. Macaws most often brought figs and wild apples, cockatoos were famous for their special success in growing berries and gathering wild bee honey, grey parrots were the only birds in these forests who tamed metal... each species could provide something of its own to others, and as a result, all neighboring forests lived on trade links with each other. Budgies were skilled craftsmen in the manufacture of wooden utensils, and their chicks were believed to have the softest fluff among all parrots. So the fluff of the chicks that came down with molts was carefully collected, and other birds used it for the most delicate bedding in their own nests."
For such mentioned exchanges between the different birds, there is a trading base in the city — a group of large platforms on the trunk of the main baobab, where birds arriving with cargo are received, and cargo from the budgies is sent to other similar colonies.
The Budgie city stands "on seven baobabs" — an analogy to one well-known large city in our real world, which I came up with in 2014, and has since then remained more or less unchanged.
As can be understood from the scheme, the Seventh Baobab is considered the main one — it stands in the center and it is surrounded by the main structures that secure the functioning of the city. The remaining six baobabs are mostly residential. Instead of roads there are rope bridges connecting the structures to one another, which prove quite convenient in the case of carrying something around or to simply reduce the energy consumption that continuous flying demands. They start from the platforms on the baobabs, form multi-tiered intersections on the lower and branching trees standing between the baobabs, whereby, of course, this web converges on the seventh central one.
As for common areas, there are the market, the canteen, the baths (some are located on the Third baobab + the pool in the crown of the Seventh) and numerous interest clubs scattered throughout the city. For example, there are several board game clubs based in the crown of the Fifth Baobab, which the main characters tend to visit, especially Gesha and Gosha (since the two initially met at checkers).
Seventh Baobab concept art (artwork by me and @blackteaarts)
How did Budgie City come into being? Are there other cities in this universe?
Budgie City was founded by Phoenix. A bird whose species is unknown to anyone, so she is considered unique by the other residents. In addition to that no one knows her real age — she outlived those who helped her founding the city, outlived their children and their grandchildren, and so on. At this point no one is even trying to guess how old she is and where she came from. There were rumors about her, which had long become urban legends that every chick knows — they say she has magical abilities and can control fire. But there is no real evidence of this anywhere. In fact, no one living in the city has ever noticed anything supernatural about her — she is just a wise, kind bird with beautiful plumage, who treats every citizen like a mother treats her chick — with love and care.
Chroniclers often tell stories about how she herself was once raised among budgies and considers them part of her kind, and therefore decided to create a place where her sworn brethren can live in harmony and prosperity. Until then budgies had never lived in a colony this large before — usually they resided in rather small communities scattered many hundreds of square kilometers away from each other. Therefore Budgie City is the biggest known colony around. In number of citizens, it surpasses almost all others, which is why it is the center of attention of all the inhabitants of the surrounding forests.
Other parrots and some weavers live in a similar way. Small colonies have built their settlements right around the baobabs — in so-called suburbs, but similar formations exist in other places very far from the Budgie City as well.
What is the plot of the book?
I want to clarify that the book is currently in the process of writing in the form of a paper draft, and will be published only after the completion of the full work. Here I will give a brief description of the plot in general, without spoilers or delving into details, but so that you can have an idea of what this story is about.
In the peaceful and steady life of Budgie City — a life without any prerequisites ever before, there is a sudden turning point — Phoenix disappears. Moreover, she does not just go missing, but literally incinerates, leaving behind only one golden feather. In its entire history, the city had never had to change its mayor before, since Phoenix had ruled continuously since its foundation, so confusion and panic among the residents ensues. The so-called Royal Family, a circle of Phoenix's close advisers, who are direct descendants of the budgies who helped her founding this city, decide to hand over the reins to whom they deem the most responsible and emotionally resistant of them — Clementine and Jack.
But in a fit of desire to preserve their relationship with their son Fenya, who is slowly distancing from them, the couple, without putting it out as a question to the rest of the advisers first, use their new powers, and hand the reign to him. Subsequently, Fenya is now at the head of the city — an unstable, egocentric, arrogant yesterday-teenager. Having been partially raised by a zebra finch nanny, he sees more traits of finches in himself than those seen in other budgies. Therefore invites them to live in the city and he certainly does not go into details about why finches were never favored in the colonies of parakeets. Because there are good reasons for that... Finches are not just small and harmless birds, especially when there are a lot of them. And very soon the residents of the city will feel the effect of the appearances of the uncalled visitors…
In the midst of the ever growing chaos lives Gesha. A quiet florist who loves his routine filled with greenery and quiet pastime, who had always rested in a rather small circle of acquaintances, is forced to get out of his comfort zone and starts acting against the messy situation at hand. All because, it seems to him, that everyone around him prefers to believe and hope that everything will get fixed by itself, when this is clearly not the case. His friend Gosha is of the same opinion — although he often gets a bit carried away by his desire to administer justice (periodically turning into stupid brawls). He's just like that — against everything bad and for everything good, but tends to cross the line sometimes. Together they decide to create a secret society where they keep records of everything that upsets the citizens in this new reign, and try to find ways to solve these problems. While Gesha wants to deal with the situation through negotiations, Gosha, as usual, is more eager for a showdown.
Further down the line, Yasha appears — a native of a remote village who came from distant forests, where Budgie City is only considered a legend. He is a hopeless dreamer and a restless talker, but just as he is looking for a cozy home in this, for him, new and magnificent place, it is meanwhile literally bursting at the seams. Which soon forces Yasha to take off the metaphorical rose-colored glasses and, together with his new friends, face the harsh reality head-on.
Will the united citizens be able to solve the problem of the finch invasion and pacify the restless Fenya? Or maybe even bring Phoenix back? You will find it all out when the book is completed!
Huge thanks to @annchanorsomethin for helping with translation of this article!
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Welcome to Kynsbern!
Welcome to Kynsbern, an extremely remote village hidden deep within one of the many forests of the kingdom. Founded by the Volcroft twins, this village hosts a small community founded by the promise of possibility. At least, that's what everyone in the village believes.
This is a medieval/fantasy neighborhood, in the final stages of rebuilding after a new computer/game corruption in the original hood on the old bad computer. Once the last of the townies have been created and the family lines linked, the rotations will start.
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I just want to say a few things about the situation, which is now over if you didn't know.
@starry-cow and I have been talking in dms. We said our sorrys and cleared most of the situation up. (He also helped me come up with a new username :D)
Starry didn't do anything to deserve alla of that backlash, and I apologize sincerely if I caused any of that.
Also, yall really didn't need to block @divine0 ...in that one post I was just saying that I didn't want to talk. He really didn't do anything other then send me the ask, guys.
Labratgurlz/pax ALSO didn't do anything, I know he hasn't gotten that much hate or anything but still. All he did was block me. THATS LITERALLY ALL HE DID /lh
@an-theduckin @wielderofthechainsaw @eyedrinktwomp @r0tt1ngr4bb1t @thevoidentity @icarusticrat @dagaelizardz @doinadigitaldnazing @homoweirdcoreperson @justsprout @littleshadowlucy @xxhum4n-g00xx @xr0tt3nxfl3shx @c0ff1ncl4wz @corrupteddoodles @voidbeau @beebtlebug @machathecat @mysticlilac-ec @mangomoody @k1ng-0f-bugzzz @socko-10
Sorry for taggin alla yall AGAIN
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A somewhat common issue among those seeking out diapers is sizing. What brands are even options for those who don't fit neatly into the average medium? Well hopefully this post will provide an answer. I will be listing the size ranges of a variety of diaper brands (the smallest range on the smallest sizes and the largest range on the largest sizes) as a resource to compare while browsing. This resource is purely listing sizing options for various brands with a focus on disposable diapers, so the ranges for reusable cloth diapers are not mentioned.
ABU -> 22in-64in (55cm-162cm). Note that most diapers are only available in sizes M, L, and XL, resulting in a typical range of 31in-48in (78cm-121cm). Certain diapers have the following sizes available which expand the range; S, S/M, and XL+.
Bambino -> 20in-58in (50cm-147cm). Note that most diapers are only available in sizes M, L, and XL, resulting in a typical range of 32-58 (81cm-147cm). Certain diapers have the following sizes available which expand the range; S, S/M, and L/XL.
Cloudry -> 27in-51in (70cm-130cm). Listed sizes are M and L.
Crinklz -> 22in-66in (55cm-170cm). Listed sizes are S, M, L, and XL.
Cuddlz -> 30in-60in (76cm-152cm). Listed sizes are M and L/XL.
Dotty Diaper -> 28in-60in (71cm-152cm). Listed sizes are M, L, and XL.
Forsite -> 32in-50in (81cm-127cm). Listed sizes are M and L.
Kiddo -> 27in-51in (70cm-130cm). Listed sizes are M and L.
Kitnitiative -> 28in-55in (71cm-140cm). Listed sizes are M and L.
Land of Genie -> 28in-46in (71cm-116cm). Listed sizes are M and L.
LNGU -> 28in-51in (70cm-130cm). Listed sizes are M and L.
NRU -> 32in-56in (81cm-142cm). Listed sizes are M, L, and XL.
Rearz -> 26in-57in (66cm-144cm). Listed sizes are M, L, and XL.
Tykables -> 28in-56in (70cm-142cm). Listed sizes are M, L, and XL.
For reference, here is what the abbreviations mean. S (small), M (medium), L (large), and XL (extra large).
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Hey Mom, I Made a Sideblog!
It's here -> @treeofnonsense. (You have no idea how happy I am that that name wasn't taken.) This is going to be a containment zone for memes, personal posts, and my other interests so that this place can remain only GW2. Believe it or not I do enjoy other things as well, so there will probably be art/writing/etc. that won't get posted here.
If you're only here for Guild Wars, no worries, but if you like my particular brand of nonsense and want to see some of the other things I like, stop on by. And if you see the little jumpy armadillo pop up in your notes, that's me, don't worry lol.
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INFO!!! PLEASE READ!! THIS HAS A CONTENT WARNING!! (Mention of suicide..)
PLEASE DO READ THIS🙏🏼🙏🏼🙏🏼 Also, I'll post a pronouns page soon on here if I can figure it out..
pronouns page for more info about me :3
NAMES:
Randy or Randall!
PRONOUNS:
Any except for She/her!! Also, note that I'm really tired of being just called he/him or they/them! There's other pronouns for a reason.. please use them!
AGE/BIRTHDAY:
15, December 3rd!
WHAT DO I DO?:
I'm an artist/clarinetist/oboeist!! Maybe in the future, I might do requests and commissions!
WHAT CAN YOU ASSOCIATE ME WITH??
Swans, moths (Comet moth), beetles, or other birds(Mourning doves, pigeons, or crows)
EXTRA INFORMATION:
I have two partners!! One has Tumblr and the other doesn't! The one that does is probably considered famous.. It's the fly!! @themostsanebug !!
I also have a Discord and an Instagram acc!! You might see me mistype most of the time if I talk to you.. Also, I really want anons😞💔
OH YEAH!!! I HAVE ASK BLOGS!!! I forgot about that..
@satiredialtown (There's only 3 characters!! Emo Randy, Angelic Oliver, and Gingi..)
@prism-megaplex (An oc thing with @themostsanebug :3)
Those are the only two that I actually focus on.. Please go send an ask!<333
BASIC DNI:
⋆No homophoes, transphobes
⭒Proshippers
⋆Please don't send death threats to me or anyone else.. Like actually, I'm very suicidal. This will only encourage me more.
⭒Don't copy my acc or my art.
⋆Don't mock me or anyone in general..
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Title: Mirrors: Portals and Uses
Recommended Reading
Altars: Uses & Design
Dimensions & PlanesDualities in Witchcraft
Researching Witchcraft
Spiritwork: First Steps
Basics of Spellcasting
Basics of Warding
Basics of Banishing
Energy Work Fundamentals
Intermediate Energy Work
The Subtle Body
The Wellsource
Correspondences: Research, Creation, & Use
Please note that some information on this post comes from personal experience as well as conversations with my elders and other practitioners.
Introduction
Mirrors harbor a unique and paradoxical role, often existing at the intersection of clarity and obfuscation. Throughout the annals of history, these reflective surfaces have been the subject of mystic fascination and contemplation. Shrouded in a mysterious aura, mirrors are an integral component of various mystical practices across diverse cultures.
A seminal instance is observed within the African Yoruba tradition, where mirrors are emblematic of Oshun, the deity of beauty, love, and prosperity. Here, these reflective surfaces serve as conduits to divine insight, manifesting the ethereal into the perceptible. Parallel to this, in the indigenous cultures of the Amazonian Shipibo-Conibo people, mirrors - often represented by reflective surfaces of water - are perceived as gateways to understanding the complex layers of the universe, thus embodying a significant spiritual tool. Moreover, in many East Asian practices, mirrors carry deep symbolic significance and are fundamental in rituals aiming to ward off malevolent forces. Among the Ainu people of Japan, for instance, mirrors function as amulets, protecting the holder from supernatural harm.
Mirrors as Portals
A ubiquitous yet perplexing facet is the concept of mirrors functioning as portals. These reflective surfaces, more than mere decorative elements or vanity tools, hold a quintessential place in mystic and magical practice, extending beyond their ordinary use to become intermediaries between the unknown and the practitioner. Diving into the understanding of mirrors, one might read about their role as gateways. The duality of mirrors, both reflective and transparent, presents a tantalizing paradox: what they display isn't a mere reflection, but an alternate universe or spiritual plane. This dichotomy positions mirrors as a connective threshold, an aperture between the observable and the unknown, the physical and the mystical. Despite their allure, mirrors necessitate careful handling within a magical context. It is a common misconception that mirrors only function as portals during explicit rituals. However, their latent potential as conduits should not be overlooked. Consequently, it's paramount that mirrors remain shrouded or safeguarded within consecrated spaces to prevent inadvertent connections to unwelcome energies. Approaching this aspect with a measure of respect and precaution is instrumental in maintaining the equilibrium of such spaces.
Historically, the mirror's role as a portal is discernible across a myriad of cultural contexts. In Greek mythology, Narcissus fell victim to his reflection in a pool of water, demonstrating an early symbol of mirrors as deceptive portals to the ego. In Chinese folklore, the mythical creature Nüwa repaired the heavens using a seven-colored stone, comparable to a mirror, again associating these reflective surfaces with cosmic transitions.
Mirrors often represent truth, knowledge, and self-awareness, owing to their reflective properties. However, their potential as portals imbues them with added dimensions of mystery, transformation, and transition. The mirror, in this context, becomes a metaphor for change and personal evolution, presenting a liminal space where the known meets the unknown, thereby offering new possibilities and perspectives.
Given the energetic properties inherent in mirrors, they should always be treated as portals. Their constituent materials - silica and silver - interact in such a way that a subtle, yet potent, energetic field is generated, a field potentially capable of bridging multiple planes. To ensure safety, mirrors should be handled with respect and caution. They should be appropriately covered or warded when not in use, especially within sanctified spaces. It is also recommended to cleanse mirrors regularly to reset their energetic state and prevent any residual energies from accumulating.
Energetic Interactions & Metaphysics
Energetic Interactions
Amid the energetic symphony of the universe, each object reverberates its unique energetic signature, contributing to the collective composition. Mirrors, with their paradoxical and captivating nature, have often been the center of esoteric investigation. This intrigue is rooted not only in their physical attributes but also in their nuanced energetic interactions.
To comprehend the energetic interplay of mirrors, one must first examine the properties of its constituent components. Primarily, mirrors are composed of glass, a substance formed from the supercooling of molten silica into a quasicrystalline structure. Coating the back of this silica-based surface is a thin layer of reflective metal, usually aluminum or silver.
Silica is very insulative, and negentropic, meaning that its natural energetic state eventually resets regardless of influence. It is also Attractive, meaning that it slowly pulls other energetic compounds to itself. Due to the quasicrystalline structure, glass is refractive and enthalpic, meaning that it becomes thermal under pressure- or releases energy. Silver is conductive and repulsive in nature. Due to how silver atoms prefer to arrange themselves (a face-centered cubic lattice) it also tends to be very metastable, meaning that its natural energetic state is not prone to change regardless of energetic interactions. Because the two are constantly next to each other, because of the silver backing, the negentropic nature of the silica causes an energetic cycle of attraction and repulsion, this oscillation combined with the conductive nature of silver and the entropic nature of glass generates a small energetic field. While this is normally negligible, it creates the perfect environment for the propagation of connections between spaces or planes that are out of phase with our own.
The unique composition of mirrors implicates a distinct effect on the ambient energy. Mirrors, with their inherent vibrational resonance, can both pull and push energy, thereby influencing the surrounding energetic atmosphere. The capacity of mirrors to manipulate energy finds practical applications in the sphere of spellwork and energy transmutation. Through their reflective properties, mirrors can serve as effective tools in spells that involve redirection or amplification of energy. They can be used to create energetic boundaries, return energetic influences, or focus and multiply ambient energy and energetic projections.
Common Metaphysics of Mirrors
The mirror, with its intrinsic capacity to reflect, serves as a potent symbol of the Jungian 'Shadow' - the hidden aspects of one's psyche that are often suppressed or ignored. Through the act of looking into a mirror, one is invited to confront and acknowledge these facets, facilitating a journey towards holistic self-awareness. The mirror, in this respect, catalyzes self-reflection and introspection, propelling an individual towards self-understanding and acceptance. Delving into the sphere of mirror magic uncovers its profound connection to personal transformation. The reflective nature of mirrors encapsulates the principle of change, embodying the potential for alteration and transformation. As such, mirror magic can be utilized as a tool for self-development and evolution, offering a means to focus energy towards constructive change. Beyond symbolism and transformation, the metaphysical properties of mirrors warrant exploration. Mirrors, by their construction and function, are potent energetic entities. The amalgamation of silica and metallic elements results in a unique vibrational resonance, enabling the mirror to absorb, store, and emit energy. This energetic characteristic, coupled with the mirror's reflective capacity, amplifies its metaphysical potency, making it an influential tool in various mystical practices. Moreover, the reflective nature of mirrors aligns them with the principle of 'as above, so below', a concept found in various esoteric traditions. This principle speaks to interconnectedness, suggesting that what occurs on one level of reality also happens on another. Mirrors could, therefore, serve as a solid physical replacement for any correspondence necessary.
Divination, Spells, & Ritual
In the enigmatic arena of divination, mirrors command a distinctive presence. Among various techniques, scrying - the act of gazing into a reflective surface to perceive spiritual messages - emerges as a common method of introspection and foreknowledge. This practice unfolds as a tripartite process, encompassing the scrying ritual, technique, and subsequent interpretation.
Scrying, an ancient form of divination, leverages the reflective properties of reflective surfaces, like mirrors, to delve into the psyche, unveil hidden knowledge, or prognosticate future events. This technique transcends conventional sensory perception, engaging instead with subconscious and/or spiritual entities. The mirror functions as a medium, harnessing and focusing the widened attention in order to project images or symbols onto the reflective surface. These visual constructs carry messages from the spiritual domain, providing insights that range from self-understanding to predictive revelations.
Techniques & Rituals for Scrying
Executing mirror scrying necessitates a meticulous approach. Often, the process commences with the preparation of the space and the individual. Creating a tranquil environment, devoid of disruptive elements, facilitates a deeper, unhindered connection with the spiritual plane. Personal preparation includes grounding and centering exercises to align the individual's energy with the ambient energy of the environment. They then place a light source between them and the reflective surface. Once prepared, the practitioner enters a meditative state, allowing their gaze to soften and unfocus while looking into the mirror. This passive observation invites subconscious impressions to surface and be displayed on the mirror. Maintaining an open mind and a receptive state is crucial, as the visions or symbols may not be immediately clear or might require subsequent interpretation.
Interpretation of Images & Symbols in Reflections
Post the scrying experience, the practitioner embarks on the task of interpreting the observed symbols or images. This phase is intrinsically subjective, as the significance of the symbols often rests within the personal context of the observer and their held convictions and correspondences. However, there are common archetypes and symbols that carry collective meanings, which can provide a starting point for interpretation.
For instance, water-themed images might signify movement, emotions, or the unconscious, while an image of a bird might symbolize freedom or spiritual elevation. However, these interpretations are not rigid, and the practitioner must trust their intuition to derive the true message from the symbols. Being able to pull specific concepts from abstraction can be an invaluable tool in this practice. Moreover, it's worth noting that the absence of specific images during scrying does not indicate failure. Sometimes, the experience might be more of an energetic shift or a feeling, which are equally valid forms of divinatory communication.
Examples of mirror spells for different applications
Harnessing the power of mirrors, one can devise a multitude of spells tailored for diverse purposes. One such example pertains to protection, where a mirror can serve as a shield to deflect negative energy. Here, the mirror is positioned facing outward, symbolically repelling unwanted influences, thereby safeguarding the individual or space.
Another practical application can be found in the realm of healing. A mirror, due to its reflective nature, can be utilized to channel and focus healing energy towards a specific target. For instance, an inscription or symbol associated with health could be drawn on the mirror surface. Subsequently, this healing symbol is then "activated" by focusing one's concentration on it, allowing the mirror to magnify the healing intention.
Mirror spells also prove instrumental in the domain of self-improvement. One may write or speak affirmations into a mirror, thereby employing its reflective capability to reinforce positive change. The mirror's surface serves to amplify the affirmation, aiding in its internalization and materialization.
Ritual Practices Involving Mirrors
Mirrors, acting as tools for focus, protection, and transformation. One common ritual involves the use of a mirror as a portal for spiritual communication. In this practice, the mirror is treated as a gateway, a connection point between the physical and spiritual planes. Practitioners may engage in meditation or trance work in front of the mirror, seeking to establish communication with spiritual entities or access deep layers of the subconscious.
Another ritual entails the use of a mirror in a consecration ceremony, where the mirror is "cleansed" of any residual energy and "charged" with a specific purpose. This process involves elements like incense, candles, or natural elements like moonlight, leveraging their specific energetic signatures to cleanse and empower the mirror.
One must, however, proceed with caution when interacting with mirrors in a ritualistic context. Given their potent properties, mirrors must be handled respectfully and carefully. Always ensure that the ritual mirror is properly stored or covered when not in use to prevent any unintended energetic interactions.
Example Ritual That Incorporates Mirrors
Ritual of Mirror Reflection
Objective: This ritual aims to promote self-reflection, growth, and self-awareness. It harnesses the unique properties of mirrors to aid participants in seeing and understanding aspects of themselves more clearly.
Optimal Circumstances: Conduct this ritual during a new moon, a time known for introspection and new beginnings. A quiet, dimly lit space with minimal disturbances is ideal.
Ingredients and Correspondences:
Mirror: Acts as the primary tool for reflection and introspection
(Optional) A bowl
White Candle or electric candle: Represents purity and clarity.
(Optional) Lavender Incense: Used for relaxation and heightening awareness.
(Optional) Salt: Represents grounding and protection.
(Optional) Incense for grounding
(Optional) Offerings for your spirits
Preparation:
Create a clean, sacred space where the ritual will take place.
Place the mirror on a flat surface.
Practice the incantation until you can recall it without breaking your train of thought: “Show me, guide me, reveal the truth inside me.”
(Optional) Place the salt and lavender in a bowl and then set the candle in the bowl, cradled within the mixture to support it.
(Optional) Place the candle between you and the mirror before lighting it.
If the bowl, salt, and lavender is omitted, just place the candle between you and the mirror. Be sure that the candle is in a glass container for fire safety.
Procedure:
Creating and Engaging the Headspace:
Ensure that your space is free from distractions by turning devices off or on silent, taking measures to get pets quiet and happy, notifying other residence that you require some quiet, putting on headphones with music, and setting comfortable lighting.
Use the flame from the candle dance. Let its clarity inspire your mind to remain focused and clear throughout.
(Optional) Affirm to yourself, “Today, I seek a clearer understanding of myself.” if you think it will aid you.
Maintain this headspace by repeatedly returning your focus to the candle's flame and the points of gnosis whenever your mind wanders.
Entering a State of Gnosis:
Light the incense and take a few deep breaths, inhaling the calming scent.
Sit or stand comfortably before the mirror, gazing deeply into your reflection.
Allow any extraneous thoughts to flow out with each exhale.
Gradually move your awareness inwards on your own psyche.
While maintaining equal awareness of each component, break up your psyche into subsequent parts by whatever categorization feels most optimal for you.
Include awareness of your subtle body in your gnosis, as it also plays a role in the psyche.
Take steps to ensure that your state of gnosis is unbroken throughout the spell.
Programming the Energetic Body:
Within your gnosis, move your center of consciousness into your subtle body.
Incorporate your Wellsource into your awareness and how it feeds energy into your subtle body.
Begin to radiate Wellsource energy out of each energy point radially. Be sure that the amount of energy per second is unilateral for each point.
Energetic Constructs:
While maintaining gnosis, reach out and sense the energetic properties and projections from the mirror. It should be a rapidly oscillating field that projects roughly 10 cm -1 m away from the mirror relative to its size. If you’re using a black mirror, stone mirror, or any mirror that doesn’t have a silver backing it will have a different energetic sensation.
(Optional) Incorporating Spirits:
To integrate spirits, whisper a humble request for guidance from trusted spirits and give whatever offerings they prefer. To identify them, look for sensations of warmth, a gentle pressure, or feelings of serenity.
Ensure that you do not demand, but gently request their presence.
Understand that they will help you if they desire, but do not rely on or expect their assistance.
Ritual Action:
Gaze into the mirror, allowing your eyes to defocus slightly. As you do, softly chant or whisper, “Show me, guide me, reveal the truth inside me.”
With each repetition, delve deeper into introspection, understanding the various facets of your being.
Sink your awareness into the components of your psyche. Try not to label them, and just observe them. Trust that your subconscious will bring back what it is you need from the working.
Concluding the Ritual:
Collect the energy you released and send it into the earth.
Thank your spiritual aids, if you called them, and invite them to leave.
Extinguish the candle and clear the space, ensuring to store the mirror safely.
Cleanse the space using whatever means are more comfortable to you.
Note: Always cleanse the mirror after use to reset its energetic state. This can be done by washing it with salt water or vinegar. If you’d like to seal the mirror, draw a sigil on it and/or cover it with a black or white cloth.
Spirit Work
Mirrors, in their multifaceted roles within various esoteric traditions, exhibit a powerful capacity for spirit work. This encompasses a wide spectrum of practices ranging from entity banishment to spirit communication. The exploration of these applications, while deeply intriguing, also necessitates an attitude of respect and careful handling given the potent nature of this work.
Examples of Mirrors in Use for Spirit Work
In several indigenous cultures, mirrors are employed for spirit work, acting as conduits between the physical world and the spiritual realm. For instance, among the indigenous Huichol people of Mexico, mirrors are often integrated into shamanistic practices to facilitate communication with ancestral spirits. This specific usage is chronicled in "The Huichol: A Culture Walking Towards the Light" by Susana Valadez and "Shamanism and Spirituality in Therapeutic Practice" by Christa Mackinnon.
In Asia, particularly within the indigenous Ainu community of Japan, mirrors, known as "Iyomante," are considered sacred objects that bridge the gap between humans and "Kamuy" (divine beings). Details of this practice can be found in "The Ainu and their Folklore" by John Batchelor and "Ainu: Spirit of a Northern People" by William Fitzhugh and Chisato Dubreuil.
Using Mirrors for Banishing
Mirrors also play a role in the banishment of unwanted entities. The rationale behind this practice is that the mirror's reflective surface 'returns' the entity's energy back to itself, which can prove disorientating or repelling for the entity. It can also act as a portal to another spiritual plane through which an entity can be sent to. A particular method involves placing the mirror with the reflective side facing outwards towards the direction from which the negative energy is perceived to originate. During this process, the practitioner maintains a focused state, using projections from the subtle body to direct the unwanted energy into the mirror.
Using Mirrors for Spirit Communication
The reflective nature of mirrors has led to their usage as tools for spirit communication, serving as a medium through which messages from the spiritual realm can be received. This practice often involves mirror gazing or scrying, where the practitioner enters a meditative state and focuses on the mirror's surface, inviting communication from spirits.
One notable example is the "Psychomanteum," a mirrored chamber used for contacting spirits of the departed, popularized by Dr. Raymond Moody, author of "Reunions: Visionary Encounters With Departed Loved Ones". This technique requires a carefully controlled environment and preparation to facilitate spirit communication. It's recommended for only experienced practitioners or under the guidance of a seasoned professional. It is important to note that while mirrors can be effective tools in spirit work, some methodologies may not work for everyone due their vagueness or whether they’re writing from a personal narrative.
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This article was reviewed and edited by ChatGPT
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Ok cool summary image that displays the good things of multiple Hymenoptera. Specifically look at the wasps as they get wayyyy too bad a rep. They’re just as necessary for the environment as anything else.
As for source I can’t find the exact source for this version via google images. The closest I can find is a version by Daily Infographics https://dailyinfographic.com/bees-a-comprehensive-guide
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Updated February 10, 2024:
Thank you so much for all of the interactions so far! I am currently playing GTA V for the first time and got so addicted that I made a side-blog to reblog things I like, but mostly for the GTA fandom.
[ My main blog is @kissoflightning ; it's a Detroit: Become Human/Animals/Writing themed blog ]
I like to make clips, GIFS, traditional art (I’m still learning), memes, and general shitposting for GTA V (and perhaps I will do it for the other GTA games once I play them)
Apparently I make a lot of original posts so I created some additional tags to find my posts:
#GOF's Post - General for all of my original posts.
#GTA Memes - Memes about GTA
#GTA Art - I'm learning traditional art with pencil and charcoal
#GTA Shenanigans - Screenshots/Clips of my silly antics/discoveries
#GTA Screenshots/#GTA Selfies/#GTA Scenery/#GTA Pics - General/Character Selfies/Scenery/Character Pics
#GTA Textpost - Any Text Post referring to GTA
#GTA Fanfic - My one-shot for GTA (Added February 22, 2024)
#Trevor Simping - Any post solely dedicated to Trevor; he's got me feeling some kind of way and I am partial to him.
~ Shipping friendly blog
- Spam interaction welcome
(Feel free to follow/unfollow this blog as you please, I won't take offense)
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