“I’m talking that massive, never-ending Discord chat with your bestie? The one that makes you giggle through the day? It’s not a ‘waste of time,’ it’s what time was made for“
– atlinmerrick on Tumblr
Hear, hear!
As much as it might frighten us some days, change is permanent and the only absolutely realiable thing in life. (Apart from the sheer impossibility of taking anything with you when it’s time to go.) Why not find happiness while you can? Why not allow yourself to feel the joy you feel? Lots of adults would be happier, I think, if they allowed more of the delight they used to feel in their childhood to remain in their lives. (Mostly talking to my Protestant forebears here…!)
Cults are a staple of modern fantasy. When you need a shadowy organization for your hero to go up against, whether they’re protecting an ancient secret or scheming to bring about the end of days, you can’t go wrong with a cult.
There are plenty of modern examples of secretive organizations that draw in forlorn or gullible people and condition them to submit to the will of charismatic leaders. Such organizations can serve as models for imagining fictional cults, but if you want to write a cult in a fantasy setting, it can be helpful to look at ancient examples. One of the oldest documented examples of a secretive religious organization in conflict with larger society is the ancient Roman cult of Bacchus.
The cult of Bacchus emerged in southern and central Italy in the late third century BCE. It was centered on the worship of the god Bacchus, a version of the Greek Dionysus associated with wine, fertility, and ecstatic release. The Italian Bacchus also borrowed some traits from the Roman god Liber, connected with grapevines, wine, fertility, and freedom. The worship of Dionysus, Bacchus, and Liber was well established as part of the state religion of the Roman republic, which by this time had solidified its control over the whole of the Italian peninsula. The cult of Bacchus was a new religious movement that drew on older traditions but offered its followers new ways of celebrating them.
Followers of this movement practiced their worship in secret, not as part of the state-sanctioned public religion. Only initiated members of the cult were allowed to join in. Unlike traditional Roman religious celebrations, which maintained distinctions between social classes and had separate roles for men and women, initiates of Bacchus included people of all genders and classes who mixed together indiscriminately in their rites. Celebrations were raucous nighttime affairs that featured feasting, drinking, music, and dance.
The Roman elite was scandalized by the popularity of this religious movement. All the surviving sources describing its activity come from this hostile perspective and include lurid suggestions that the Bacchic revelers were practicing magic, engaging in wild sexual frenzies, and scheming at poisonings and other nefarious deeds. Despite these unfavorable sources, there is no reason to think that the cult of Bacchus was actually so outrageous. Seen in the context of the time, we may actually find the cult appearing in a much more favorable light.
To understand the cult of Bacchus, we need to set aside both the hostile attitude of the Roman elite and many of our modern associations with the term cult. While we associate the term today with secretive, manipulative organizations, cult, in its historic use, refers simply to the set of practices that are appropriate to the worship of a particular god or divine entity. All ancient gods received cult from their worshipers, from the official ceremonies for gods of the state to the everyday rituals that attended family and household spirits. Although the cult of Bacchus carried out its rituals in private, there is no indication that the organization was manipulative or coercive, or that members were isolated from the rest of society. In fact, in many ways, the cult offered a positive experience for its members.
Italy in the late third century BCE was recovering from the devastation of the second Punic War. From 218 to 204 BCE, the Carthaginian army led by Hannibal operated largely unchecked in Italy. The effects of war were far-reaching. Many young people from Rome’s Italian subjects were called up to fight in Rome’s legions, some never coming home again. Roman and Carthaginian armies alike ravaged farms up and down the peninsula. In the aftermath of the war, many small farms faced ruin, and a lot of Italian families had little choice but to sell their land to the aristocratic elite at whatever price they could get and move into cities like Rome looking for any work they could find to scrape together a living. Italy in the late third and early second centuries BCE had a vast population of poor people barely getting by, dislocated by war and poverty from their ancestral homes, and resentful of the elite who had come out of the war riding high on plunder and foreign slaves.
The cult of Bacchus offered relief from the pressures of life—if not a hope for a better world, at least a temporary distraction from the troubles of this one. It helped people who had been displaced from deeply rooted ties of family and community find new connections outside the limitations of gender and class. For people who had little joy in their lives and faced a hard daily grind just to eat, the appeal of a celebration full of food, music, and dance was strong. It’s not hard to understand why the cult gained a following in post-war Italy.
It’s also not that hard to see why the Roman aristocracy reacted with such alarm and hostility. The Second Punic War had hit Rome hard. Even though the Romans emerged victorious over Carthage in the end, a generation of potential recruits for Rome’s armies was killed or wounded in the fighting. Rome’s resources were stretched to the limit. What’s more, the war exposed weaknesses in Rome’s hold on Italy. Hannibal’s strategy was to deny Rome resources and fighting power by helping its subjects in Italy rebel. Not all of Italy took Hannibal up on his offer, but enough cities did, especially the Greek cities of southern Italy, to make the Roman elite nervous about their ability to maintain control of the peninsula. Since the cult of Bacchus particularly appealed to the southern Italian Greeks, it doesn’t take much to see why the Roman aristocracy in the years after the war saw disaffected poor Italians gathering together in secret and challenging established social lines as a dangerous thing that needed to be stamped out. The Roman state aggressively suppressed the cult of Bacchus, the first documented example in Western history of a religious movement persecuted by the state.
The cult of Bacchus may not fit the mold of the classic sinister fantasy cult, but understanding the context in which it arose and the forces which drew people to it can help with the worldbuilding for a story in which a cult may not be so benign. Desperate times drive people to find community, relief, and happiness in whatever ways they can. The cult of Bacchus was in reality a benevolent organization that provided much-needed fellowship, but unscrupulous people and organizations can take advantage of the same needs for darker ends.
Image: A scene of Bacchic revelry from a Roman sarcophagus, photograph by Wolfgang Sauber via Wikimedia (currently Anatalya Archaeological Museum; 2nd c. CE; marble)
History for Writers looks at how history can be a fiction writer’s most useful tool, from worldbuilding to dialogue.
Recently I’ve been very drawn to cozy fiction. I focus on SFF and mystery for the most part, but not exclusively; my consumption also tends to (but doesn’t exclusively) fall under fantasy. (I do also continue to read and watch other kinds of stories like competence porn). But regardless of genre, the works I enjoy the most share a certain element of comfort in them.
Thematically I need:
lower stakes—the problems must be smaller. (They can be large-ish for the characters, however.) No cataclysms or world-enders (i.e., quests that only the protagonist can complete before the looming threat will irrevocably ruin life in the whole universe), and absolutely nothing gloomily post-apocalyptic. Legends and Lattes by Travis Baldree amply fills this criterion. (Although if L&L had had any more faffing about with coffee than it already did I might have screamed.) His Bookshops and Bonedust was good, too.
protagonists who either already have or within the story make at least one reliable, supporting connection. The Earthsea world by Ursula K. Le Guin has quite a few characters like this. (Nostalgia does also help.) A found family counts for me, too, of which the Wayfarers series by Becky Chambers is a delightful example. (The Monk & Robot duology, however, I emphatically bounced off of.)
antagonists who form reasonable obstables, but aren’t too far-out or vile. I might mention The Goblin Emperor by Katherine Addison.
things to eventually settle into a comfortable state. If not an outright happy ending like in The Princess Bride movie, then at least a kind of a happy ending. As Erik put it, as happy an ending as possible under the circumstances. Thornhedge by T. Kingfisher comes to mind.
and last but not least, protagonists who know themselves and are comfortable with themselves and their place in the world, like Ellis Peters’s Brother Cadfael stories. (Sadly, you can’t binge read the series without quickly noticing what a boring copy-paste job Peters does with the featured young women—they tend to be perky and pretty and often strong-willed. That’s all fine and good, in itself, but there are already enough Smurfettes, thank you.)
As always, learning to work together is a huge bonus for me. Plus, the focus characters need to come across as rounded personalities, not paper dolls being carted around delivering plot-advancing lines. The Murderbot Diaries by Martha Wells handsomely fit these two criteria (even if some of the problems are larger), as does T. Kingfisher’s The Saint of Steel paladin series (even if there’s a little more romance than I’d generally care for).
There are also a number of works that fill some of the wishlist points but not others. Katherine Addison has added to the fascinating world of The Goblin Emperor in the excellent duology The Witness for the Dead and The Grief of Stones, which I’d count cozy otherwise (or cozy enough, like Christie’s mysteries), but the protagonist Thara remains troubled throughout, with just the tiniest glimpse of contentment at the end of TGoS.
The Keeper’s Six by Kate Elliott also follows a protagonist with a number of established allies, but the problem was too grand and some of the characters too snide to fit it into my comfort reads category. And the otherwise excellent Thorn by Intisar Khanani has a very nice but ultimately helpless human who remains far too helpless for far too long.
In the visual media, if possible I would like to pull everything concerning the village of Ta Lo in Shang-Chi and the Legend of the Ten Rings into its own story; there isn’t too much of it in the Marvel Cinematic Universe version, but what there is is lovely. Peter Jackson’s The Lord of the Rings and The Hobbit show snippets of the ultimate cozy setting, the Shire, but, alas, they don’t amount to a long sequence either.
Character-wise, the Disney+ Obi-Wan Kenobi series features a delightful growing friendship between young Leia and Obi-Wan, but I couldn’t call the series cozy otherwise. To venture into the historical, most Jane Austen adaptations and the Miss Marple series with Joan Hickson always deliver. In fact, we just finished a most satisfying Miss Marple rewatch. 🙂
There is, however, something elusive about my sense of cozy fiction which I haven’t yet been able to quite put my finger on. Oddly, as much as like tea, taking a mystery and slapping in ample servings of tea doesn’t necessarily cut it. For instance, Malka Older’s The Mimicking of Known Successes and The Imposition of Unnecessary Obstacles were complete misfires for me.
Some commentaries on the rising popularity of cozy fiction talk about foregrounding sensory details. That might have something to do with the appeal, although I think an overload is an overload regardless of what you’re overloading. (Hello there, Legends and Lattes, faffing about coffee.) I suspect, though, that the crucial factor for me is the protagonist’s sense of comfort with their situation; a comfortable amount of self-knowledge or self-awareness. I’ll have to think about it some more.
Apart from this mystery ingredient, it seems the works I enjoy most right now are basically about recognition of the ordinary. They have ordinary people persevering, or, in case of people with extraordinary skills, characters who nevertheless know how ordinary they are in other respects. Quite ordinary motives behind even the most elaborate murder plots. Or perhaps simply the enjoyment of commonplace situations and routines—but in a SFFnal setting, because I do still want a little bit of a twist in my fiction. 🙂
With the past three years having been very trying, I don’t wonder at taking comfort in a slower pace, lower-stakes challenges, more familiar burdens, and happy endings. With tea and yummy noms, if possible.
I may, in fact, be turning into an old cat, LOL! 🙂
Anything you could recommend along these lines? Do chime in! Also, if you have any cozy gaming experiences, I’d love to hear about them.
Obviously the story somehow weaves in shifts in global power—there are a lot of Asian faces, but not many specifics at this stage—and the Red Hulk. The latter is completely unfamiliar to me, so it should be interesting to see how Marvel is able to introduce us non-comic readers to the character. (As far as I can tell, their track record so far is hit or miss.)
I am looking forward to learning what (beside wings!) Anthony Mackie’s Sam Wilson brings to Captain America the character and the franchise. It’s been quite a while since we properly saw him in action. Looks very cool so far!
At this writing, BNW is expected to release on February 14, 2025.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
Murderbot, the sardonic human-machine construct Security Unit who was designed to fight and kill but would rather just watch media, reflects on what makes a good story:
The latest show I was watching had started out good but turned annoying. It was about a pre-terraform survey (on a planet with completely the wrong profile for terraforming anyway, but I didn’t care about that part) that turned into a battle for survival against hostile fauna and mutant raiders. But the humans were too helpless to make it interesting and they were all getting killed. I could tell it was heading toward a depressing ending, and I just wasn’t in the mood. […] I didn’t want to see helpless humans. I’d rather see smart ones rescuing each other.
Murderbot, in Rogue Protocol
Me too, Murderbot. Me too.
Wells, Martha. Rogue Protocol. New York: Tom Doherty Associates, 2018, pp. 22-23.
Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.
I posted about dark academia about a year ago when I learned of the phenomenon. Time for a sibling post of sorts: since then, I’ve discovered the style light academia.
Apparently, the term was coined on Tumblr already in 2019. (Man, I must’ve been hanging around the wrong side of Tumblr not to have heard about it then!) Also, apparently cottagecore can overlap with light academia, as can a romanticized view of coffee shops as places for people-watching and studying.
Sounds like neutrals, earthy colors, white, gold, and pastels are especially favored. One article lists movies and shows with light academia aesthetics, including classics like Little Women, but also newer productions like Bridgerton, the 2005 version of Pride & Prejudice or the 2022 Netflix adaptation of Persuasion. There are, of course, playlists and recommended activities or crafts. Some people even sell light academia mystery boxes on online platforms! I’ve found out that there are also other, established flavors I hadn’t heard of before: green academia and chaotic academia.
(Good grief, I feel officially old! At least there doesn’t seem to be any academia cores.)
While I love reading, knowledge, and learning, I confess I’m a little perplexed by this dissecting of various aspects of campus / university life into separate aesthetics. (Not to even mention the fact that Finnish universities by and large look quite different from these Anglo-American-style ones.) But I guess that’s what we humans do—we create endless groupings out of the same elements.
In honor of the movie Deadpool & Wolverine coming out next week, here’s a lovely tidbit concerning an earlier Wolverine movie. Sir Patrick Stewart apparently had the following to say on seeing Logan for the first time with an audience at the Berlin Film Festival in 2017:
“It was Hugh [Jackman] and [director] James Mangold and myself, and when it got to the last 10 minutes of the movie, it was emotional and intense, and I could feel myself getting choked up. Then I looked over at Hugh and he was wiping his eyes, and I thought if Wolverine can weep at a movie, Charles Xavier can do the same thing. Then Hugh reached over and grabbed my hand and we held hands for the rest of the movie.”
-Sir Patrick Stewart
HUGE props for Hugh Jackman and Sir Patrick—it’s not always easy being a man and showing emotion in the Anglo-American world, never mind when you’re supposedly this tragic tougher-than-nails superhero. (Sorry, sorry, bad pun very much intended!)
(I do appreciate Sir Patrick so much—he’s such a humane and decent man, not to mention a superb actor!)
Lang, Brent. “Patrick Stewart on ‘Logan,’ Harvey Weinstein and Returning to ‘Star Trek’.” Variety, December 05, 2017.
Not even a week after Erik spotted an incoming link from a fanfic published at Archive of Our Own, we started seeing increased traffic to another post on our blog, and we couldn’t figure out why. (Good grief—when it rains, it pours!)
Thanks for the link! It’s nice to be appreciated, especially since our blogging tends to follow whims which, I’m sure, appear very opaque to outsiders. 🙂 The reddit discussion had some interesting points, so it was definitely worthwhile to poke my head in.
(What baffles me, though, is how some redditors seem to have mistaken this blog for a news site. Perhaps I’m merely getting too old to think there are enough cues in the metadata and site sections to easily discount that idea…? I am, however, experienced enough to know most people won’t read our About page where it is spelled out that this here is a hobby blog, goshdarnit! *grumble grumble*)
In one of the Dungeons & Dragons games I DM for, there is a player who is very into the idea of gathering herbs and brewing magic potions. The base game as written doesn’t have much in the way of rules for alchemy, so we’ve just been winging it for the better part of a year. That worked, but it wasn’t as satisfying as either of us would like, so I finally sat down and brewed up a set of rules for herb-gathering and alchemy. Here’s what we’re playing with now. Feel free to use this or adapt it, if it seems like it might be a fun addition to your own games.
Alchemy
An alchemical system for Dungeons & Dragons, 5th edition.
Harvesting herbs
To collect herbs, you must be in an environment where wild plants grow. The DM will determine whether there is anything available for you to gather. Specific environments may give you advantage or disadvantage to your roll, at the DM’s discretion. Gathering herbs takes an hour.
Roll a Nature check to see whether you successfully collect herbs and how much. If you have an Herbalism kit and the proficiency to use it, you may add your proficiency bonus to the roll
Once you have harvested an area, whether you successfully gathered herbs there or not, the plants need a month to regrow before you can harvest the same area again (unless they are affected by magic that causes plant growth).
Nature check
Herbs collected
Less than 11
None
11 – 15
1 batch
16 – 20
2 batches
21 – 25
3 batches
26 or more
4 batches
For each batch of herbs you collect, roll 1d6 to determine what type of herbs you find. (You can also choose to target a specific kind of herbs when you harvest. If you do, you make your harvesting roll at disadvantage, but all herbs you collect are of the kind you want.) Keep track of how many batches of herbs you have of each type.
1d6 roll
Herb type
1
bark
2
berries
3
fungi
4
leaves
5
roots
6
seeds
Making potions
To make potions, you must have enough herbs of the right types (1 batch of each type listed on the table below, unless the chart calls for more). Some potions require special ingredients, to be determined by the DM. Each brewing attempt consumes the given amount of herbs and takes one hour.
Roll an Arcana check to attempt to make each potion. If you have proficiency with Alchemist’s supplies, you may add your proficiency bonus to the roll. If you do not have alchemical equipment, you have disadvantage on the check. Whether the check succeeds or fails, the herbs are consumed. The DC for the check depends on the rarity of the potion you are trying to make:
Potion rarity
Arcana DC
Common
10
Uncommon
15
Rare
20
Very rare
25
Legendary
30
If you succeed on your Arcana check by 4 or less, you make 1 potion of the chosen type.
If you succeed on your Arcana check by 5 to 9, you make 1d4 potions of the chosen type.
If you succeed on your Arcana check by 10 or more, you make 1d6 potions of the chosen type.
(A DM might also allow a Medicine check in place of an Arcana check, or let proficiency with a Poisoner’s kit apply to the roll, depending on what kind of potions the character is brewing.)
Potion
Rarity
Herbs required
Antitoxin
Common
Bark, berries, seeds
Oil of Etherealness
Rare
Bark, leaves x3, roots
Oil of Sharpness
Very rare
Fungi x4, leaves x2, roots x2
Oil of Slipperiness
Uncommon
Bark, leaves, roots, seeds
Philter of Love
Uncommon
Berries, fungi, leaves, roots
Potion of Animal Friendship
Uncommon
Berries, leaves, roots, seeds
Potion of Clairvoyance
Rare
Fungi, leaves x2, roots x2
Potion of Climbing
Common
Bark, leaves, roots
Potion of Diminution
Rare
Fungi, leaves x3, roots
Potion of Flying
Very rare
Bark x2, leaves x4, roots x2
Potion of Gaseous Form
Rare
Bark, leaves 2x, roots, seeds
Potion of Giant Strength (Hill)
Uncommon
Bark, leaves 2x, roots
Potion of Giant Strength (Stone/Frost)
Rare
Bark 2x, leaves 2x, roots
Potion of Giant Strength (Fire)
Rare
Bark 2x, leaves 2x, roots
Potion of Giant Strength (Cloud)
Very rare
Bark 3x, leaves 3x, roots
Potion of Giant Strength (Storm)
Legendary
Bark 4x, leaves 4x, roots, special
Potion of Growth
Uncommon
Bark, leaves 2x, seeds
Potion of Healing
Common
Berries, leaves, seeds
Potion of Greater Healing
Uncommon
Berries 2x, leaves, seeds
Potion of Superior Healing
Rare
Berries 2x, leaves, seeds 2x
Potion of Supreme Healing
Very rare
Berries 3x, leaves 2x, seeds 2x
Potion of Heroism
Rare
Bark, berries, leaves, roots, seeds
Potion of Invisibility
Very rare
Leaves 3x, roots 2x, seeds
Potion of Invulnerability
Rare
Bark 2x, leaves, roots, seeds
Potion of Mind Reading
Rare
Fungi, leaves, roots 2x, seeds
Potion of Poison
Uncommon
Fungi 2x, roots, seeds
Potion of Resistance
Uncommon
Bark, berries, roots, seeds
Potion of Speed
Very rare
Fungi 2x, leaves 2x, roots 2x
Potion of Water Breathing
Uncommon
Bark, berries, leaves, roots
Restorative Ointment
Uncommon
Bark, berries, seeds 2x
Sovereign Glue
Legendary
Bark 2x, fungi, leaves 2x, roots 4x, special
Universal Solvent
Legendary
Berries, fungi 3x, leaves, seeds 2x, roots 2x, special
The table above includes only items listed in the Systems Reference Document released by Wizards of the Coast under Creative Commons. If you want to expand this table to include other potions and items, you can apply the following principles:
Determine how many ingredients the potion requires. The number of ingredients depends on the rarity of the potion.
Rarity
Ingredients
Common
3
Uncommon
4
Rare
5
Very rare
6 – 7
Legendary
9 plus a special ingredient
Determine which ingredients are needed. The table below gives some general suggestions, but feel free to choose whichever ones feel right for the potion in question.
This is so epic and ingenious! Jen and John at Epbot built in their home a DIY version of the illusionary labyrinth wall from the movie Labyrinth for a theme party. You remember, the one with the worm? “Come inside, meet the missus!”
Here are a couple of behind-the-scenes photos:
As you can see, they built a small temporary wall to make a small hallway to step into. The opening between the rooms was partially covered with faux brick panels. Careful painting and lighting complete the illusion. (They even added the worm! Squee!)