plague village

  • Bisexual as heck
  • Has no social skills due to her upbringing
  • Is seen as weird and creepy for her interests
  • Wants to make friends regardless
  • Masks her insecurities and terrible self-esteem behind a cold exterior
  • Uses her magical skills to help people in need multiple times, occasionally utilizing the very methods that people derided her for taking an interest in
  • Does cute things like sneaking good luck charms into someone’s belongings to repay them for being kind to her
  • Tried to stop a plague that assailed a village, only for people to believe she was the one who caused it, upon which she devoted herself to creating a cure for said plague
  • Initially afraid her love interest might think she’s gross for being in love with a person of the same gender as her
  • Has prodigious Seer skills, that make her very popular with fellow female army members
  • Goes to tea parties with other girls in the army, even though it takes some convincing for her to attend.  Seriously, how cute is that??
  • Develops as a character in her supports with the female Avatar, whilst also not losing her eccentricity
  • Suffered a traumatic, near-death experience which changed her personality when young
  • Is currently older than her father due to time shenanigans, though despite his childish tendencies and her own attitude, loves him dearly and yearns for familial affection
  • Utterly loyal to people she loves 
  • Self-taught in the art of divination, though she can also branch out to oh, this little thing like raising the dead
  • A true determinator when dealing with things she actually cares about
  • Hilariously deadpan
  • Queen of snark
  • Claims not to care about how people see her, though she has walled herself so far from others that it deeply affected how she perceives them as being out to get her
  • Actually asks someone to teach her how to laugh without being creepy. I cannot handle this, my gosh.
  • Mall goth
  • Is amazing and I love her

The Ones Who Survive by Annie Cardi

The story goes like this: there’s a beautiful girl locked away in a tower, asleep, seeming dead but not, cursed, waiting for someone to wake her. Knights and princes and kings have tried, but the journey is long and the way is barred by brambles and thorns and dragons, and so far no one’s ever come back. So knights and princes and kings keep going, because the beautiful girl is still out there, waiting for someone to bring her home like a prize.

When I heard the story as a child I asked, “Where’s everyone else? Why is she alone?”

“Because she was cursed hundreds of years ago. Some left, but the one who loved her stayed with her until they all died.”

When I was a little older, when the plague swept our village and my mother and father died, I thought about the beautiful girl, and how we both knew what it was to be cursed and alone.


They said I would be sleeping, dreaming,
and I don’t know where I am but
I’m not at rest.

I feel my body and I leave my body
and I am everywhere.

I am through the brambles and thorns
Atop the tower
But all I could do was watch them go.

It was to keep me safe
the brambles and thorns and monsters
I heard them tell me at my bedside

I watched them weep
watched them grow old
watched them grow still.

They cannot keep me safe anymore.


When people ask where I’m going, I tell them I’m going to look for work, to search for family, to find a husband.

I don’t mention the girl asleep in the tower.

I pack what little things I have, including my father’s armor. “You can’t be too careful on the road,” someone tells me when they see me wearing it. I sleep with a knife in my hand and a sword at my hip.

I need them.

On the road, I fight boys who think I’m an easy target. Men who think a girl on the road needs someone to protect her. Knights and princes and kings who think they have the right to anyone they come across. I warn them that I have a sword and it’s not the first time I’ve used it, but they never listen.


I used to dream
about someone who could find me
someone I’d want to find

Knights and princes and kings
ride in on white horses
swords drawn

My body is asleep and hidden
but I fly at them,
all teeth and fire and rage

They are delicious
and not at all satisfying.


People think I’ve made a mistake. “Turn around,” they say, “this land is cursed. If you survive the woods, there are the brambles and thorns, too thick to even hack your way through. And if you survive the brambles and thorns, you will be swallowed whole by the monsters waiting for you on the other side.”

“I know about being cursed,” I say. “I know about survival.”

I keep walking.


They said it was a witch
who did this to me.

They said it was a curse
I lived with my whole life

And all they could try to do
was protect me.

But maybe I had to learn how
to protect myself.

To wait until I didn’t have to.


I survive the woods. I fight through the brambles and thorns.

When I hear leathery wings, I hold my place. It lands in front of me and circles me and when it lands in front of me, all I see are claws and teeth. I tell myself this is not how I die, and I stare the monster in the eye and say, “I need to see she’s all right.”

It circles me again and inhales and I feel the fire in its breath. Then I feel the flap of wings and it rises up and it’s gone.


They told me I’d have to wait
until someone could protect me
but they didn’t tell me from what.

From woods and witches,
from brambles and thorns,
from knights and princes and kings.

So I gave myself teeth and wings
and dreamed.

I don’t need to dream anymore.


The story goes like this: The story goes like this: there’s a beautiful girl locked away in a tower, asleep, seeming dead but not, cursed, waiting for someone to wake her. Knights and princes and kings have tried, but the journey is long and the way is barred by brambles and thorns and dragons, and so far no one’s ever come back.

But where knights and princes and kings have failed, a peasant girl knows the way because she knows what it means when the journey is long and the way is barred. She knows how to survive and how to protect others.

This is the story I tell myself when I see her, beautiful and asleep and alive.

And waking up.


The stories start with a curse,
a witch, a thorn

A beautiful girl locked in a tower.

Not dead but alive.
Not asleep but air and fire and teeth.

Not waiting for knights
or princes or kings

But for the one who reminds her
that she is not dead but alive
not asleep but air and fire and teeth.

The stories are about the ones
who survive

And they end
with a kiss.

decisions in the witcher vs dragon age

dragon age: kill this person.. or let them live?
me: let them live!!
dragon age: well done! he is safe and sound! congratulations! you’re a great person, you saved someones life, and now everyone is happy! want to reload and see what would happen if you didnt?

the witcher: kill this person.. or let them live?
me: let them live!!
the witcher: well done! you have allowed a future mass murderer to continue terrorising villages, a plague has been released on all the kingdom, peoples crops will wilt and their farm animals will die, everyone hates you. want to reload? your last save for this decision was 20 hours ago good luck

“You’re the King of France. You don’t have the privilege to obey your heart!” Mary who was trying to stop Francis from going into the village in plague where Lola was giving birth.
#francisvalois #marystuart #Reign #tobyregbo #adelaidekane #frary #fraryloveiseternal

Nearing a nearly thirty year run, Usagi Yojimbo is one of the few titles that can legitimately claim to have been around for a lifetime. Given its longevity, it’s likely that even the most ardent fans have dropped (and picked-up) this book several times over the years, engaging in a ritual usually only reserved for bedrock friendships: instantly picking up exactly where you left off – even if everything has changed.

Here’s the official word from @darkhorsecomics:

Usagi’s travels take him to a village plagued by rainstorms threatening to destroy it. While the rabbit ronin organizes the men to build a levee, the defenseless town is ransacked by bandits. Now Usagi and his companions must choose: chase after the brigands and risk a flood or finish the dike and face starvation!

If you’ve occasionally lost track of Usagi Yojimbo, you’re not alone. Like many Gen-Xers, my first introduction to the iconic ronin was through his most dumbed-down of incarnations, as the periphery side-kick to the Teenage Mutant Ninja Turtles animated series. Luckily, I quickly began working backwards, discovering back issues of Stan Sakai’s iconic run and then continued reading, keeping decent pace with many of the thirty volumes that rolled out over the next twenty years. All this said, I lost track of Usagi a few years back, and so it was with a sense of relief that I picked up issue #152 (subtitled The Rising River) which offers tidy re-entry into Usagi’s current continuity.

Offered as “Part 1 of 1,” The Rising River’s strength comes from the fact it’s mostly self-contained, and fits a rhythm that longtime Sakai fans will quickly recognize. Like the best serialized series, Sakai often toggles back-and-forth between multiple-issue arcs which generally develop character, and discrete one-shots which either reinforce longstanding expectations, or offer poignant morality tales. Issue #152  is the later, throwing readers into a raging storm where Usagi is helping villagers reinforce a failing dyke just as bandits steal all their food. Engaging others in questions of morality, priority, and justice is what Usagi does best and the most pleasing moments of issue #152 come from Usagi’s heroic efforts to find a solution that meets everyone’s needs – even the bad guys.

While some might dismiss these mini-parables as filler between larger arcs, I’d argue they’re central to understanding Usagi’s driving motivation – he wants to serve, even in the absence of a master. This was as true in 1987 as it is today, and is one of the main reasons Sakai’s universe is still accessible to readers no matter how long it’s been since they picked up an issue.

Much of Usagi’s magic, of course, is derived from the art. Sakai’s execution is flawless, and with thirty years of practice under his belt, each page is a genuine masterpiece, offering playful perspectives and expressive line work. Sakai knows these characters so well he’s adept at communicating just as much with facial expressions as he does dialogue and issue #152 is no exception.

So yes, if it’s been some time since you’ve read Usagi, issue #152 is pretty damn good place to jump back in again. And maybe stay awhile.

Review by Max Delgado ; Twitter: @LongBoxProject

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The picturesque village of Eyam in Derbyshire - pretty as a chocolate box. A village with a tragic and heroic story.
In 1665, when the Bubonic Plague was ravaging London, a bundle of cloth was delivered to the local tailor - from London - and infected with the deadly disease. Over the next few months, dozens of villagers died - when the local Rector, William Mompesson decided to take action. The whole village went into voluntary quarantine, and cut themselves off from the villages and communities around them, to prevent the disease from spreading further. Around two thirds of the village died from the plague - 279 men, women and children - but who knows how many hundreds of lives were saved by their selfless actions.


Today On Bike Tours Of Derbyshire: Eyam

Today’s ride took me over the 100km mark, with me covering 102km, avoiding bank holiday motorbike tossers and over-zealous sports car owners. (note: avoid Matlock Bath. Always.)

Yes that’s right, today I went to the most Goth village in the world: The Plague village - Eyam!

Anyone who grew up in Derby knows the story, but for those of you who aren’t locally born and inbred, I shall tell you the story. The year is 1665.  The country is being ravaged by a new super-disease, Bubonic Plague II, killing 1 in 4 people it infects (Bubonic plague I hit in the 13th C. but was not received well, chalking up fewer deaths). London is the worst hit but with people fleeing the city, they spread the disease, seemingly almost deliberately, to Derby. The village folk of Eyam bravely fought the plague with pitchforks and mead. This proved unsuccessful so instead, they chose to isolate themselves from anyone else and all die. Not a vastly successful tactic, but in doing so, saved the whole of Derbyshire.

The lasting effect of this morbid episode in local history is we have an awesome plague-village attraction. For example, the sign post looked like something out of Sleepy Hollow. Each house has a handy plaque, detailing who died and when. The local church has a graveyard hastily put together as bodies piled up faster than at a suicide booth outside a Nickelback concert. There is also a ‘boundary stone’. A stone where locals would leave coins soaked in vinegar in the hope neighboring villages would stock them with Quaver crisps and Dr. Pepper. Sadly foil hadn’t been invented yet so the Quavers would often taste of vinegar. This maybe when salt & vinegar crisps were invented.

To get there, take the A6 until you see the dark portal. Use freshly killed rabbits to barter the black demon of despair to carry you across to the gates of Eyam. Failing that, the Transpeak bus more or less goes the same way. However, for hardcore mode, cycle it you pussies.

Eyam gets 10/10. It’s fucking excellent.


Every week, the village was plagued by a terror. No one had ever saw it, but the soot left behind and what stole were dead giveaways. The only creature known to steal things that shined and cattle, and left behind soot, was a dragon. The villagers knew that they themselves stood no chance against the fearsome beast so they called for the aide of the fiercest monster hunter known in the lands.

Meanwhile, Luffy happily went on with his life. His treasure pile was getting bigger every day and he had found the most perfect little cave where he could keep them. Today he decided that he’d go through them and rearrange his pile, then after that he’d take a nice little nap inside of them and then maybe go and see if he couldn’t take another cow from the humans nearby.

Blood and Shadows

*Nightmare was tied to a tree, bleeding, set as an offering to a blood thirsty beast that plagues the village* VILLAGER: HERE US BEAST TAKE HIM TAKE THIS SACRIFICE AND BE AT PEACE LEAVE US IN PEACE AND WE WILL NEVER HUNT YOU AGAIN!

[closed] || vampirehunter!au

If someone were to ask him what his job was, the Aussie would have had quite the problem answering that. His occupation didn’t quite fit into what would be considered ‘normal’, but then again, he got paid and there were some people that were glad for him to be around to get rid of whatever monster was plaguing them.

Fully equipped, he’d found himself at a rather small village, surrounded by a vast forest. Which wouldn’t make any sense, were he not there for one particular reason. He’d heard of a vampire residing nearby and plaguing the villagers, so of course, once the villagers started actively seeking help and offering a reward for it, he was the first on the spot.

The hunter had been looking for clues and what else for quite some time, before he finally picked up on the vampire’s trail, which had lead him deep into the surrounding forest. Little did he know, he wasn’t as alone as he had thought he was.

Giant mushrooms

My 3 PCs are in a dungeon, recovering an artefact to stop a plague in a nearby village. My Cleric is a first time player.

DM(me): Out of nowhere a giant disfigured mushroom sprouts from the ground, fart like gasses coming out. The air is filled with a noxious stench that makes you sick to the stomach.

Cleric: Ima touch it.

DM: But, it’s obviously poisonous.

Cleric: I still wanna touch it.

DM: (giving him a break I try to protect him) ok roll, idk for strength.

Cleric: (rolls nat 20) Is that good?

Rouge: Well now he has to touch it

DM: Fine, you are now poisoned.

Cleric: Did I look cool?