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17th century silver skull watch, Louvre museum
Perhaps a gnomish watch

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Wei Huai Xu
DM Thoughts 24: Of Home & Hearth
A fire crackles, blackening the logs it sways atop, the smoke billows through the chimney and out into the cold night. A ranger is abound, the snow crunching beneath his boot steps- stalking silently, bow at the ready. The fighter and barbarian relax and unwind by the fire, drinking mead and sharing stories of triumph, all while the wizard tinkers in the basement. And let’s not forget the bard, dressed in frill and felt, tuning his lute at the foot of the bed while the cleric sits outside of the room, listening, polishing a holy symbol.
Every party needs a home- something that is ever-so-often looked over by both the players and the DM. This post will be dedicated to building a home, base, or generally establishment of respite based on your party.
…
The first, and ofttimes the biggest step in creating a comfortable location for the party that feels like home is giving it that homey quality, which can be hard to bring out- and you will have to know your group in order to do so.
This essentially consists of giving something to the base that distinguishes it from other places in the world- somewhere where the adventurers don’t constantly have to watch their back for vile presences and would-be-killers. It must convey comfortability, and the way to start this is by using the hearth principle.
A creation I came across whilst trying to settle a party in, “The Hearth Principle” involves something that calms the adventurers as soon as they see it. It does not have to be a hearth (or fireplace), but only something that the players need to be able to switch from blades-at-the-ready to ale-and-comfort.
In your party’s homestead, this could be a babbling brook running between farms and homes. It could be a well in the center of town, or a banner over stone masoned walls. Perhaps it is a familiar cat that oddly greets the party as they come home, or a guardsmen on hire that always welcomes them back. Maybe it is the gentle chime of wind or the roar of waves crashing against a rock-strewn shore.
Whatever it may be, a player home needs The Hearth Principle to survive.
…
In the homestead, there must be something for every party member to do, something that will bring them comfort, enjoyment, or entertainment (and, if possible, all three at once).
The bard could have a wooden stage that he or she can decorate and perform on, practicing and honing their talents, as they are like to do. Make sure there is a stock of mead and ale for the barbarians, otherwise they get mighty ornery, they, and the fighters, might also enjoy a training ground, filled with straw-dummies and tests of strength.
It is important that the religious folk, such as clerics, monks, and paladins, have a place to pray. This could be a small chapel or an alter outside the manor. While they pray, perhaps the ranger is out hunting in the field rife with game, while the rogue sharpens his blades in an armory.
The wizard should have a place of study, and the warlock a place of communion with her patron. A sorcerer must have a secluded place to practice and hone their vibrant magics and arcane abilities.
Make sure your tinkerers have a place to tinker, perhaps a workshop in the basement, or even a forge?
As a DM, these are your decisions, remember that a home does not become a home until every party member has something to do.
…
Safety is something adventurers find so little of. If there is one place they should be safe- it is in their home.
If the party does not feel that they can put their sword belts on pegs and spell books on the counter for a few nights, then it is no home. If their homestead is constantly subject to bandit raids and fires, they will not look at it as their home, but merely another dungeon.
Do not harass your players at their home and they will find love and trust within. If the former is your goal as a game master, then it is as simple as that.
…
Lastly, the party should be permitted to do what they want with the homestead- it is their home, they don’t need strict requirements that they must face so often in the dungeons deep below the earth.
If the party wants to add a farm to their estate or found a town, allow them, provided they have adequate recourses. Perhaps what sounds good to them does not to you, which is often the case between the DM and players, but you must keep in mind- it is not your story alone to tell. If they players don’t have input then they might as well be watching a man or woman read aloud from his or her favorite book.
Let them make their decisions about their home, and you will all be better off because of it.
…
With that, we conclude the 24th installment of DM Thoughts, and I apologize for the wait, guys! Believe me, if I could write one of these weekly I would- but sometimes life and writers block get in the way- just remember that I am here and I am always available to contact! Thank you so much for the wait!
-A, a humble Dungeon Master
…
The logs sit charred in the hearth, in front of it lays an exquisite fur pelt from a land far to the north, the barbarian sleeps atop it, sprawled out, her axe never more than a foots reach away. The ranger moves through the forest, he has brought down an elk, and he checks his snares nestled into the snow, a smile graces his face as a cold winter wind whips across the forest. The fighter is asleep in his bed, snoring loudly, he clutches a tankard in one hand as a mark of comfort. The wizard has fallen asleep on her desk, yet again, the bard slinks down the stairs like a cat and slips a blanket over her shoulders, he looks warmly upon her and begins his walk back up the stairs. The cleric looks wistfully out of her open window, the moons in the sky shine bright against the snow, and the rangers shadow stretches long as he walks through the fields- she reminisces of home, in a time past, simpler times. She hesitates for a moment before realizing - this is her home.
DM Thoughts 26: Scum & Scoundrels
An assassin creeps into the nobles estate to put his contract to bed. A thief plucks the crown jewels from the throne room. A guild of scoundrels and thieves control the cities finances, without anyone knowing it. One kingpin is at the head of a massive criminal organization, and nothing passes in the city without her knowing.
In most campaigns that involve some urban interaction, an element of crime, be it major or minor, is generally present, whether it be a Thieves Guilds influence on city life or a common alley robbery.
Today I want to establish some strategies and tips for working crime into your own world.
…
It should be established that crime, in any case, should do harm to at least one individual, and prove beneficial to another. It could be that it harms many people and benefits one or few, or perhaps it only harms an individual or a small group of people but aids many. Either way, it should include both sides of the spectrum.
An example of this could be a murder, it benefits the perpetrator, but (fatally) harms the victim, and generally those around them. If it is a murder of a higher profile individual, it could harm more, or perhaps if it was someone that was widely hated, it could aid many.
(Thief by Mark Tarisse : Deviantart)
Also pay mind that crime generally has a head of the operation, if there is one perpetrator it is said perpetrator, but if it is an organization there should be one person, or several, who are respected as leaders. This may be a guildmaster, a kingpin, or an agent of some kind.
…
Organized crime can be fun to play around with as a DM, establish a few key members in the organization, and, as mentioned above, put a leader or leading party into place.
Some organizations are dedicated to making as much money as possibly with the most efficiency, sometimes this is via extortion- perhaps an urban operation charges protection on innkeepers, shop owners, and civilians. Other times it is larceny, thievery, burglarly, etc. etc. In this case the operation would consist of several ranks of thieves, pickpockets- pinching what they can from nobles and high ranking targets- up close and personal. Burglars and heisters break into locations in order to find one or many items of value, such as an estate, a bank vault, an ancient supply of wealth, or the horde of an individual.
Some associations of criminals may have a chaotic good twist, doing what they do to better the future of others. Perhaps a group of labeled terrorists who eliminate tyrannical figures and their establishments whenever possible, a group of Robin hood-esque thieves, stealing from the wealthy and giving to the impoverished.
On the other side of the spectrum, some illegal organizations may have a greater evil flavor about them, those that do tend to be the more secretive groups.
(Hollowworld.co.uk - Alteras Coven)
Urban cults, trying to raise vile things in the cities sewers, political cabals controlling the tyrannical government from behind the scenes, using figureheads. Their motivations could be religious or purely economic, but the main fact remains- they harm the lower classes.
…
“Lower” crime consists of the muggings, homicides, rapes, and carriage collisions.
These could be dealt with by the party at low levels, searching the streets to find a Jack the Ripper reminiscent, a serial killer and rapist. Perhaps he leaves behind evidence at the crime scenes that can be plucked from said areas if the party is clever enough.
(Jack the Ripper by Davepalumbo : Deviantart)
Or potentially these lower crimes are the echoes of the larger organization, muggers are distantly connected to the thieves guild, and murders to a peculiar crime family.
…
Campaigns take many forms, and perhaps one of them actually involves the party being associated with crimes.
Members of a ‘family’ based mafioso-esque thieves guild? Perhaps pirates on the high seas, plundering what they choose and sharing it amongst their community. On the sinister side, perhaps they are assassin’s or hitmen, taking on high profile targets for good coin.
Either way, centric or sub, crime can be an excellent element in any setting, and I am glad to have been able to discuss it!
-A, an illicit Dungeon Master
Artworks by Daniel Romanovsky

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Tyler Jacobson makes rad art. More here.
“Men may stumble upon secret things, but Von Junzt dipped deep into forbidden mysteries. He was one of the few men, for instance, who could read the Necronomicon in the original Greek translation.”
While the Necronomicon gets all the press, my personal favorite Tome of Eldritch Lore is undoubtedly Unaussprechlichen Kulten by Friedrich Wilhelm von Junzt. Known primarily by its translated name of “Nameless Cults” or just The Black Book, it is a catalogue of horrors and secrets, compiled by a German who spent his life traveling around the world, prying into the darkest corners of the occult.
His errand was quickly stated. He wished my aid in obtaining a volume in the first edition of Von Junzt’s Nameless Cults—the edition known as the Black Book, not from its color, but because of its dark contents. He might almost as well have asked me for the original Greek translation of the Necronomicon. Though since my return from Yucatan I had devoted practically all my time to my avocation of book collecting, I had not stumbled onto any hint that the book in the Dusseldorf edition was still in existence.
Unlike most Eldritch Tomes, it isn’t actually that old, having been written within living memory of the pulp era, and whereas most of these books were meant to be kept as closely guarded secrets, The Black Book was intended to be published widely.
A word as to this rare work. Its extreme ambiguity in spots, coupled with its incredible subject matter, has caused it long to be regarded as the ravings of a maniac and the author was damned with the brand of insanity. But the fact remains that much of his assertions are unanswerable, and that he spent the full forty-five years of his life prying into strange places and discovering secret and abysmal things. Not a great many volumes were printed in the first edition and many of these were burned by their frightened owners when Von Junzt was found strangled in a mysterious manner, in his barred and bolted chamber one night in 1840, six months after he had returned from a mysterious journey to Mongolia.
While the German title is usually translated as “Nameless Cults”, a more accurate translation is “Unspeakable Cults” with the double meaning of both “Forbidden” and “Unpronounceable”, both of which make sense given the Lovecraftian names contained therein. While most of those interested in the occult have heard of the book, and may be somewhat familiar with it, most have only read poor translations and pirated editions.
Five years later a London printer, one Bridewall, pirated the work, and issued a cheap translation for sensational effect, full of grotesque woodcuts, and riddled with misspellings, faulty translations and the usual errors of a cheap and unscholarly printing. This still further discredited the original work, and publishers and public forgot about the book until 1909 when the Golden Goblin Press of New York brought out an edition. Their production was so carefully expurgated that fully a fourth of the original matter was cut out; the book was handsomely bound and decorated with the exquisite and weirdly imaginative illustrations of Diego Vasquez. The edition was intended for popular consumption but the artistic instinct of the publishers defeated that end, since the cost of issuing the book was so great that they were forced to cite it at a prohibitive price.
To read an original copy of Unaussprechlichen Kulten with its heavy leather covers and rusty iron hasps was to delve into secrets of every kind. From Lemurian religions to the Thuggee, from pre-human monoliths to ruins of antediluvian civilizations, Von Junzt wrote about dark things and forgotten lore. But he was no mere scholar, collecting and retelling tales told by others. He sought out these hidden cults himself, tracking them down one by one, learning their secrets and attempting to drag them, wriggling, into the light.
Von Junzt spent his entire life (1795-1840) delving into forbidden subjects; he traveled in all parts of the world, gained entrance into innumerable secret societies, and read countless little-known and esoteric books and manuscripts in the original; and in the chapters of the Black Book, which range from startling clarity of exposition to murky ambiguity, there are statements and hints to freeze the blood of a thinking man.
What lends the Black Book its aura of dread is this very proximity; these are not ancient tales chronicled by a historian, but a log of things discovered still extant. Von Junzt went out to the darkest corners of the world and found these secret cults, and they can still reach out into the world for those who meddle in their affairs.
Reading what Von Junzt dared put in print arouses uneasy speculations as to what it was that he dared not tell. What dark matters, for instance, were contained in those closely written pages that formed the unpublished manuscript on which he worked unceasingly for months before his death, and which lay torn and scattered all over the floor of the locked and bolted chamber in which Von Junzt was found dead with the marks of taloned fingers on his throat? It will never be known, for the author’s closest friend, the Frenchman Alexis Ladeau, after having spent a whole night piecing the fragments together and reading what was written, burnt them to ashes and cut his own throat with a razor.
As promised, here is my guide for Magical Plants.
I know it took long, I’ve got my studies to blame for that.
There’s also a variant rule on the first page for those of you who want to use this alongside my Creating Magic Items guide.
Picture from Google.
Enjoy! :)
Gran Blue Fantasy

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10 Questions to Ask When You Create a Fictional Culture
The way I build worlds is by collecting cool stuff from the history, myth and people around me. I blend these details with my own imagination, and create my own cultures.
Normally there are a few particular cultures that interest me at a given time. I read whatever I can find about them, their environment, their traditions and their myths. The interesting details filter into the new world I’m creating (example: at one time, Venetian widows could only remarry on the stroke of midnight).
In the long term, there is nothing more inspiring and challenging than visiting foreign cultures yourself (especially if you can get far beyond your comfort zone to do it). This is the truest way to experience culture, and I really believe it shows in your writing.
But reading (non-fiction, myth/legend/fairytales, as well as the classics like Dune and Lord of the Rings) and watching documentaries/films can get you a long way toward filling up on your inspiration tank.
It’s important to remember: Culture in fiction isn’t a rod to get a point across. At its best, it is something beautiful, otherworldly, amusing, and sobering. The more layers and contradicts your culture has, the more real it will be.
Some questions you might ask yourself are:
What is the most important ideal to this culture as a whole? What would other countries say is the stereotype? (Brutally simplistic examples: America = freedom, French = romance) BONUS: How is this ideal positive, and how is it negative?
What is the setting of the culture? (History, myth and geographical location are huge huge huge players in the formation of culture.)
How did this culture come into being? How has it changed between then and the start of the novel?
How does the culture influence my protagonist? In what ways is the culture antagonistic? In what ways is it beautiful?
What are three detailed, specific things about this culture that I love? What are three that I hate?
What are exterior influences on the culture? Who’s living next door? What are relationships like between nations?
What does your culture look like to a native, and what does it look like to an outsider? (Place a native from your novel in an intensely cultural part of your world (for instance, a market place). Describe the scene. Then place a foreign character in the same setting, and describe it again.)
What is one yearly ceremony or celebration that is important to the culture (and your main character)?
What is one specific action/ritual/habit this culture has (and why)? How would they react to someone who breaks it? (Example: The Pashtun don’t throw away bread crumbs, they put them outside so the birds can eat them. If you brush off your shirt over a trashcan, they will take the trashcan and try to sweep the crumbs onto the ground outside.)
What things are you passionate about? (Example: books, dancing, music) What things do you not understand, or wish you understood? (Example: child marriages, rednecks, monasteries, the “brotherhood of soldiers” trope) Writing about these things will help fuel your diligence, but will also force you into a sort of seeking—and when you’re seeking, your culture will become more vivid.
(5 BONUS QUESTIONS HERE)
Basic overlooked worldbuilding questions
Whether you are writing a futuristic dystopia or a cloud city of dragons, you need to figure out how people get basic supplies. These are often the most overlooked worldbuilding questions since it’s more fun to think about how cultures honor the dead or where the mountain ranges are, but answers are necessary to create a complete world.
-Where does the water come from and how is it distributed?
-Who makes the food?
-Who transports and distributes the food?
-If your world has modern utilities, are they widespread or only for the rich? For that matter, do utilities have to be modified to work in your world (for example, electric lines with anti-magic coating)?
-What happens to trash?
-What happens to sewage?
-What building materials are available?
-What do people do when they get sick?
-What do people do in the case of a natural disaster?
-What do people do in the case of a fire?
-How are large objects moved?
-How are items that take skilled labor to make created and distributed?
Remember, the answers might be different for people at different economic levels.
Beyond the Pale Crunch: Classes
[February 16]
In Beyond the Pale, I wanted classes to feel both unique and as part of a shared whole, something consistent, something that fit with other classes to provide a sense of unity and cohesion.
As such, some classes are part of “archetypes”. Individual classes may draw upon unique spells/abilities and traits/feats but they can also pick from a pool of shared abilities and feats from their archetype.
For example, Wizards and Mages can both fling fireballs. As such, they both have access to the base ‘fireball’ spell at lower levels. As a Wizard and Mage level up they deviate drastically, the same fireball spell working in conjuncture with other spells and traits, making the outcome different.
The following list is the list I have so far for classes. It is a work in progress so keep that in mind.
Mage (Archetype: Arcane Sorcerer)
Mages are the ‘efficient’ casters, who cast a small number of spells with great efficiency, who work at reducing the overall cost of casting and recasting their spells. As they level up they begin to excel at various types of damage dealing but also counter magic, discerning magical properties, laying magical traps and manipulating the events on the board directly.
Wizard (Archetype: Arcane Sorcerer)
Wizards are ‘rolling’ casters, as in their power grows the longer they fight. The more they cast, the more benefits they gain, such as extra spells, more damage, etc. They also focus on a wider range of spells of shared use, such as a wide range of illusion spells as a whole or damage spells as a whole. Wizards, as they level up, gain more control and power over the field, able to buffer and funnel enemies into ideal places, intimidate foes with words of power and provide widespread aid to their party.
Arcanist (Archetype: Arcane Sorcerer)
Arcanists are ‘stationary’ casters, gaining power and efficiency the longer they channel one spell, like a bolt of force constantly gaining power. This leads to them utilizing a small pool of offensive spells and a larger pool of utility or defensive spells. As they level up they begin to gain skill at evading damage, moving instantly across short distances and being able to convert their skills into more devastating ‘short term’ strikes.
Blood Sorcerer
Blood magic is a high utility caster, with little offensive skill but high benefits to what they do have. Primarily, they have spells and abilities that augment their chance to hit, deflect damage, mark areas as trap tiles and can debilitate enemies. As they gain levels they gather a few, stronger offensive skills but primarily focus on crippling enemies or transferring spell effects to allies.
Necromancer
A ‘minion’ caster, the primary focus of the Necromancer is creating minions. At later levels they gain offensive and utility spells, such as destroying biological matter or preserving dead things at a touch. Gaining levels primarily allows them to control more minions, make minions stronger or use minions and cast at the same time.
Oracle
Oracles are another utility caster, this time focused on the aid of others. Primarily, oracles help by offering tactical advice, providing insight or creating vivid dream-states in both allies and enemies. Leveling up they are able to have some degree of precognition, able to predict and shift the flow of combat around them and others to minimize damage.
Druid (Fey Sorcerer)
Druids are more melee combat oriented casters, casting on the go. Early on they start off by manipulating themselves and their surroundings to allow them to close distance. As they level up they begin to take on new powers, like partial shapeshifting, the ability to interact with human biology, the absorption of plant and animal traits.
Witch (Fey Sorcerer)
Witches strike a middle ground between Druid and Arcane Sorcerers. In particular, witches can do what each of them can do, though they specialize in blending the two paths together. They are focused on more stealth or debilitating effects, gaining strength in either spell offense or defense as they level up.
Runesmith
Runesmiths are trapmasters and enchanters. Typically, they focus on depleting a limited pool of runes, prepared prior to the encounter, creating a brutal but very limited burst of power. Runesmiths must ration their runes and supplement them with enchantments. As they level up they gain access to a wider range of runes, as well as gaining ways to create runes on the fly, restore spent runes or give them multiple charges.
Vigilante (Street Fighter Archtype)
Vigilantes enter the fight from a point of strength but quickly begin to decline afterwards; starting strong but ending weak. They focus on brutal assaults that throw the enemy into disarray and spend their advantage as best they can. Afterwards they begin to falter, once the enemy recovers they need to rely on holding action, escape or allies to provide support for them. As they gain levels they extend this advantage time and shorten their recovery time.
Street Soldier (Street Fighter Archetype)
Street Soldiers are front line fighters, who utilize combat tactics and direct damage to influence the enemy team. Unlike the Vigilante, they stay consistent through the battle, with less burst but more control and aid to their allies. They can suppress enemy attacks, dictate battle movements and deal damage out without downtime.
Scrapper (Street Fighter Archetype)
Scrappers are fighters who survive against all odds, who find a single enemy’s weakness and makes them pay for it. They can enter and exit combat with ease and blitz targets while they’re distracted. They are also highly adaptable, able to deal damage even while disarmed. At higher levels they’re capable aiding allies in recovering and reviving, fighting through pain and damage and ambushing targets when they least expect it.
Runner
Runners focus on going from point A to point B quickly. They can quickly move through enemy ranks, dodge incoming fire and typically focus on quickly disabling an enemy before moving on. These abilities also apply to a runner driving a vehicle. If you need to snatch an item from enemy clutches, weave through battle to apply medical treatment or simply get a package to a destination on time, a Runner is your best bet.
Detective
Detectives are highly observant and exploitative fighters. In battle they typically wait patiently for an ideal attack, one that cripples an opponent, allowing for their partners to deal with them accordingly. Additionally they gain tactical insight in battle, able to direct allies attacks and to take notice of things in the chaos of combat. As they grow more experienced, detectives are able to use their observances to slip out of sight, make near impossible shots or bluff their way through danger.
Thief
Thieves are highly agile, stealthy combatants. They specialize in front loading damage in ambush, bleeding back out of sight and performing hit and run attacks. As they level up they can sabotage enemy workings, use their surroundings to mask escapes and disable enemies silently.
Avenger (Warden Archetype)
Avengers are a largely melee oriented class, focusing on dealing with enemies far larger, deadlier and more powerful than they. Avengers combine slight bits of magic, brutal pragmatism and exploiting any weakness they find in bringing down supernatural foes. As they level up, Avengers focus on widening the gap in advantages as best they can, disabling numerous targets at once or a single target multiple times, making it an easier kill.
Exorcist (Warden Archetype)
Exorcists blend bits of magic, a tad of martial force and a lot of insight into a single package. Using their occult knowledge they can discern arcane weaknesses, exploit monster vulnerabilities and defend their allies from magical and supernatural attacks. As they grow more experienced they are able to apply their occult knowledge in broader strokes, such as forging enchanted ammunition, expelling spirits from a location and engaging in magical medicine.
Hunter (Warden Archetype)
Hunters fight the supernatural from afar. Utilizing deadly marksmanship, supernatural ammunition and a cool head in the face of the unknown, hunters gun down their foes as quickly as they can to survive. As hunters gain levels they adapt more and more to changing scenarios, bringing more weapons, ammunition, explosives and unflinching nerve to battle.
I demand people support something with so much effort put in
Beyond the Pale So Far
For anyone wanting an update on the Beyond the Pale setting, you can read the following articles. For more articles you can search the #Beyond the Pale Spideygame , #BtP Spideygame Crunch and the #BtP Spideygame Asks tags.
Full Monster List.
Angels
Description of Angels in General
Ashera, Archangel of Humility
Amateru, Archangel of Kindness
Metatron, Archangel of Chastity
Nyx, Archangel of Temperance
Tian, Archangel of Charity
Demons
Archdemons
Mephistopheles, Archdemon of Pride
Beelzebub, Archdemon of Sloth
Moloch, Archdemon of Wrath
Hathor, Archdemon of Gluttony
Lilith, Archdemon of Lust
Lamashtu, Archdemon of Greed
Ouroboros, Archdemon of Envy
Devils
Jorōgumo - Greater Greed
Succubi/Incubi - Lesser Lust
Lilitu - Greater Lust
Asgard
Asgardian Basics
Dwarves
Giants
Fair Folk
Elves
Elf Basics
Djinn, Elf of the Middle East
Yokai, The Lunar Elves
Troll-Kin
Ogres
Merfolk
Merfolk Basics
Selkies
Other Fey
Nymphs and Dryads
The Daeva
Daeva Basics
Vampires
Vampire Basics
Map of Old World Strain Territory
The Jiàn, The Soul Drinkers
The Vetala, The Locusts
The Abera, The Glowing Vampires
The Essue, Hanging Vampires
The Mora, Gutter Kings
The Bruxa, The Glories
The Striga, Masks
The Imperitors, Fallen From Grace
Lycans
Lycanthropy
Werewolves
Kitsune
Anubanites
Ma’ii
The Deep
The Bahamut
The Lotan
The Undead
Undead Basics
The Mictlante
Spectral Undead: Ghosts, Shades and Geists
Aberrations
Aberration Overview
Magic
The Soul and Magic Within the Body
Sorcery In General
Warlocks and Elysians
Arcanists
Mages
Wizards
Witches
Druids
Alchemy
Taboo: Blood Magic
Taboo: Necromancy
Taboo: Black Magic
Other
Golems
Cosmology
The Difference Between Heaven and Hell’s Geography
Fan Art
Ouroboros by Sketchy-Red-Dude
Hathor by Coffeedaydreams
Nyx by Themueslee
Selkie by Aethericanuran
Hathor by Dakingcartoon
Moloch by Dakingcartoon
Lotan and Selkies by Anonymous
Ashera, Beelzebub and Ouroboros by Anonymous
Short Stories
Astral Gaze
Updated.
Must be goblin week somewhere in the universe, eh?
Down, Down to Goblin Town!

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Carved linden wood figurine of Death riding a lion, Middle Franconia, Germany, dated 1513
from The Bavarian National Museum
Michael Whelan