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(99¢ Kindle Deal) Lola and her friends must cross blades with an ancient evil to prevent the end of the world and the unraveling of reality itself. Will they be able to save the world in time?

Me coming to accept the fact that most agents don't want high fantasy while that's literally the only thing I can write at this point but it's okay and I gotta keep trying.

Drew an old elven OC of mine, my GOD I'm bad at keeping up with characters I've created 😩😩

Things have been getting real busy as of late so here are some water doodles. As I try to cool my head.

Arithel accepts Fallon’s conditions, but as they travel she becomes increasingly troubled by the extent of his devotion to his employer.

Dangerous Magic Book Fair Magic is dangerous ~ and it's for sale Get yours now 1st to 31st January 2020

~>> Derek Stirling Kerr of "Awakenings: The 1st Augured Climacteric" "Awakenings: The 2nd Augured Climacteric" "Awakenings: The 3rd Augured Climacteric"

Seeds of Eden: Prince of Bara by Robert Osborn   The task of convincing the Earths leaders the Edenites are there to help is gaining ground with the President and the Department of Defense. , , , , ,

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(99¢ Kindle Deal!) What if the Sun, Moon, and Stars vanished from the sky? Fifteen years ago, that's what happened to Lola's world, but the path before her may lead straight to them…

An epic fantasy adventure. In parts, this reminded me of Witcher, with fantastic beasts, epic struggles, and rising stakes. - K.J. Simmill for Readers' Favorite GET IT: _.

Good Omens. I'm enjoying this on TV! Here are my points/10 for the recent BBC genre adaptations: His Dark Materials 9, Good Omens 8, Worzel Gummidge 8, Dracula 6, War of the Worlds 5 after extra time.

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Here is a drawing I did a few months back but forgot to post . I love it plus it’s funny because underfell sans would say he’s not cute . I got inspired by the YouTube channel called Undertale comics tv .


This is my oc, captain James Robert Drywater, called Spitfire. He’s a demon and he hates his parents, who treated him really bad, so he escaped and sailed to look for a better life. At that time, the most feared pirate was Volotar Aurelius (for those who knows him, I was inspired by the singer Aurelio Voltaire for him😂). He found our little guy James and he welcomed this troublemaker young James in his crew. From then on he treated him as if he were his son and James found the father he always dreamed of.

Now he is an adult and has his own crew, sailing the seven seas with his warship (stealed of course) “The Lady Killer”

The demons in my story can transform in monsters animals-like. James is the son of a female demon who can transform herself into a purple reptile-like being, his father is a member of another race who descend directly from reptiles, his father in particular is a crocodile. So James can transform into a purple crocodile. For a genetic anomaly his skin is now as purple as his crocodile transformation permanently and he’s tall 8'7" (i think it’s correct, I’m Italian so for me he’s 2,68 meters, correct me if I’m wrong!)

Hope you like him!

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Say The Magic Word

How ‘Ancient Languages’ In Fantasy Provide Magical Power When They Shouldn’t (using examples from Harry Potter and The Witcher)

As I was watching Netflix’s newest fantasy show, The Witcher, witches began chanting in a different language to channel their magic. That is a common form of magic wielding, both in urban and high fantasy, but it is one I thoroughly dislike. Magic wielders are often– if inconsistently from episode to episode or power to power– shown to draw strength from something and in a specific way. Sometimes it is themselves, the earth, mixing herbs in specific ways, or, as previously mentioned, words. However these are never so simple as the phrase 'come to me’ or 'track the king’, it is a chant in a language the audience is not viewing the rest of the series in (ie, when viewing a movie in English, the language they use is not also in English). 

In this essay, I will prove that the use of these– or other so called 'ancient’– languages is not a power or channeling source that makes sense in-universe. The fantasy available to dissect is vast, so as to not get bogged down in the sheer number of examples available, I will discuss the movie series Harry Potter and the television show The Witcher. For Harry Potter, the language they casts spells in is Latin. For The Witcher, it is the language known as Elder. 

The Language Is Not Magical

The problem inherent in these magical systems is that the language itself is not magical. In Harry Potter, spells are in Latin. As Harry Potter is an urban fantasy series, Latin is a real language that can be used and learned like any other language that is no longer spoken. To the best of our knowledge, there is not a single language on Earth that is magical. Latin is as magical as English is: not at all. 

In The Witcher, it gets a little more complicated since we are dealing with a language that we do not have on Earth. Elder is the language that elves speak, and it is also used for magic. Elves are the ones that showed humans how to channel magic, so it does follow that if any language were to originally be used for magic, it would be Elder. Elves are seen speaking both Elder and Common (in this case, English), with humans rarely being able to respond in Elder. In the show, characters– a couple elves, one witcher, and one human– are shown to exchange words in Elder (Season One, Episode Two, ‘Four Marks’) with no magical consequences, proving that it is not the language itself that carries magic, it is simply another language they could speak. 

The Language Itself Has No Magic, So Why Are Things Happening? 

Though it is not the language that carries the magic, when different people use specific phrases, the same magical effect takes place. In Harry Potter and The Witcher, magic users have a predisposition to using magic before they are trained. In Harry Potter, magic mostly follows down bloodlines, with at least one parent having magical ability and passing it down to their children. The Witcher is not shown to have as reliable a pathway for who has access to magic and who doesn’t as Harry Potter; so far, the selection is shown to be random. Regardless, magic is inherent in each character, with the language being the tool of choice in channeling power– in Harry Potter, specific motions with a wand are also required. 

'Wingardium Leviosa’ in Harry Potter, when done with a wand in hand and the proper motion, will levitate an object. Saying 'Wingardium Leviosa’ to practice their pronunciation levitates nothing while the class practices. The words themselves do nothing, so the true channeling power should be in the wand and its movement. However, when a character correctly performs the motion with their wand, an object– a feather, in the case of their classroom– will not levitate if they pronounce the words incorrectly. Emphasis on the wrong syllable is shown to be equally as useless, which indicates that, despite evidence to the contrary, the words are necessary to casting a spell. It is the combination of those specific words with perfect pronunciation, the wand, and the correct motion of the wand in tandem with the words that channels magic in the desired manner. 

In The Witcher, we are shown a class of new witches who are told, like in Harry Potter, that they need to levitate the object in front of them– a rock, in this case. The witches are given a phrase in Elder, which all of them start saying to try and levitate the rock. No motions or additional tools are given to accomplish this goal– a flower is later used to fuel the levitation, but a flower is not necessary in accomplishing that or any other spell. With only themselves and the words, it should mean that the words themselves are having an effect as their will alone is not accomplishing the goal. 

Words Are Not Necessary

The language is not magical, so it is the specific words characters are using, paired with their own magic, that makes spells work. This would be a reasonable conclusion if not for two facts that are true in both Harry Potter and The Witcher. First, magic users are discovered in their youth because of a use of untrained magic, done without words or using other tools. Second, after learning the basics of magic- numerous spells with the specific phrases in non-magical languages- characters are then taught not to say the words aloud. In Harry Potter, that first use of untrained magic is referred to as ‘accidental magic’, and in The Witcher, it is called ‘a conduit moment’. 

In the beginning of Harry Potter, they have to learn the words for all of their spells, otherwise nothing happens. By the eighth movie, very few spells are said. Characters wave their wands and, without a word, their desired spell shoots out of their wand. If words were how they started out learning to channel magic, it might make sense for them to train themselves to cast nonverbally as they became more familiar with their magic use. However, witches and wizards in Harry Potter are discovered as children through their accidental magic. No words are necessary and no specific language is used, it is the will of the magic user that makes the effect take place. 

In Harry Potter And The Sorcerer’s Stone, Harry wishes for a pane of glass to vanish, and it does. He doesn’t say anything, and as far as we know, he was not thinking the specific words that would later align with a spell. He was upset, glaring at his cousin, and the effect was the viewing glass disappearing. A spell to accomplish the same effect is not taught until fourth year, and it is not done in English like Harry speaks, it is with the incantation ‘evanesco’. Instead of willing an object to vanish, they are trained in their fourth year of schooling to use the word ‘evanesco’ combined with their wand movement to vanish it. Students have to learn, after three full years of school, to vanish an object when Harry, untrained at age eleven, was able to do it without a wand or a word. 

In The Witcher, a young Yennefer wishes to be away from a situation where she was being bullied– held down by two people stronger than her– and she creates a portal without ever meaning to. She is shown to be confused, both by her new location and the fact that she caused it. Her accidental magic saved her from the situation, without the knowledge that she had the ability to get herself away. Her magic presented itself in an instinctive way, described as a conduit moment by her mentor, where later her education is supposed to rein that power in. Yennefer shows a distinct lack of skill for magic through her initial scenes where she is trying to learn to channel magic, in spite of her powerful conduit moment, but when she is shown an alternate way of creating portals– supposedly untraceable as compared to other, more common portal creation, with use of a specific flower petal and phrase in Elder– she manages it on her first try (Season One, Episode Two, ‘Four Marks’). 

In the episode ‘Of Banquets, Bastards and Burials’ (Season One, Episode Four), it is unclear exactly how much time has passed, but it’s been at least thirty years since the previous episode, when Yennefer becomes a full mage– certified that she is fully trained. She is on a security detail as the episode starts, and to escape an assassin, she creates several portals in a short amount of time. Yennefer and the woman she’s protecting run through a portal, exchange a few lines, are followed by the assassin, creates another portal and they run through, and this repeats a few times. All we see Yennefer do to create these portals are plant her feet, concentrate, and hold her hands in front of her, creating a portal several feet away. As with her first ever creation of a portal in ‘Four Marks’, she has the desire and a portal appears, as opposed to using a phrase that was meant to accomplish the same task. 

In The Witcher, complex spells are shown to require chanting in Elder to achieve the desired result, and in Harry Potter, if the spell is powerful, the character still uses the Latin phrase in order to properly cast. However, for the most part, incantations stop being spoken once the character is considered fully realized in their ability to channel magic. 

The Power Of Words

The issue is not using magic to cast spells and then learning to use magic nonverbally, the problem is inherent in the language being used. In the case of both Harry Potter and The Witcher, Latin and Elder are not languages spoken by all magic users before they learn to channel that magic. The words initially used mean nothing to the characters we see attempting to draw on magic; they could just as easily be told a nonsense phrase and have the same understanding. If the language used for spells was, for example, their mother tongue (like with elves in The Witcher), learning to channel magic with specific phrases and then phasing to nonverbal as they reached a better understanding and practice with magic would be logical. However, in the cases of both these series, they are unlearning their natural instincts to channel magic in favor of directing it with a language unmagical by itself and one they do not understand, and then past that, learning to not speak those same phrases aloud. The circular nature of this method is nonsensical for learning magic, and since the language means nothing to the characters, there is no reason for it to be used. 

anonymous asked:

Who is the most notorious theric? Like does anyone have a name for themselves and if so, what kind of theric were they?

There are a few. It’s hard not to have a notorious _______ after so many centuries of history. Saul was one, even though he wasn’t a leader, or violent, or very clever–but he was good at what he did.

There’s the nameless first therics, who caused the whole thing. Generally if people are referring to “The Nameless Wolf” or “The Monstrous Insect,” everyone knows who they are.

But there are other famous and infamous therics to note:

Callie Engle

A snake theric whose unique venom could be reduced for use in a universal antivenin. Through her life, she produced 76 gallons of venom, which can now be artificially synthesized. It’s hoped that one day, this antivenin might be modified to cure thericry.

Sevo Mat

Credited with deciphering the Theric Cycle and with writing the code all new therics read in order to keep their curse under control. Sevo was a green unicorn theric; it’s thought that his insight may have, in part, come from the natural magic he gained as a green unicorn. Sevo lived to the age of 74, and is the oldest known theric.

Roger Sinebriar

A murderer who became a theric in order to more efficiently kill. Erit’s most infamous serial killer, he hailed from Albast and took the unfortunate form of a gallud. This didn’t stop him, however. His method was to lure people to him by creating an annoying cacophony, then wrap around their throat until they were strangled. He was charged with 46 counts of murder at the time of his capture.

Alensis Brooke

Credited with solving the poor working conditions in the Hale sector. They were accidentally bitten by a theric at the age of twelve and took the form of an absolutely monstrous mirebear. After elevating themself to the position of Union President, they famously sat on two CEOs in the steel industry and promised negotiations would continue in that state until workers were granted their demands. The success spread to other industries; the Hale Sector of Erit is now known as the friendliest place for workers of all kinds.


I’ve taken the plunge and subscribed to the new Age of Sigmar: Mortal Realms collection. I know there was some mixed feelings towards the 40k version (Conquest) but I have been eyeing the Nighthaunt faction in AOS for a while now and am keen to get a new army project underway, so this seems like a good way of collecting two whole armies for AOS.

Issue one was packed with goodies and was an absolute steal at £2.99!! Ten chainrasps and three Sequitors to start the armies off.

I’ll be trying to keep pace with the releases and not let myself fall behind too much but that’s probably wishful thinking!

Happy Hobbying