witches cradle

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Runnin’ With Wolves

Originally posted by zest-wincest

Summary: You may not agree with Dean on everything, but one thing is for sure; witches suck ass.

A/N: I’ve had this in my drafts since forever (sweet Jesus his eyes are piercing.)

Warnings: violence, SPN swearing, a little gory, blood


Your head aches, every beat of your heart pounding against your temples. A beer run. You got nabbed on a damn beer run. One that was close enough that you could've run home to the Bunker. But no. The stupid witch got the drop on you when you turned to grab your gun from the ground, knocking you upside the head with what you assumed was a brick. 

The floorboards groan as someone walks above you, dust falling into your eyes. You wince, blinking quickly. They grunt, a heavy thunk knocking loose more dirt. You could only assume it was another person - another body.  

“Stupid witch,” you mutter bitterly. 

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anonymous asked:

Au where the airport fight ends in a minor debate over who has to take Peter home BC he's literally too young to fly unaccompanied without fuckloads of paperwork

This is amazing because I literally just read something similar in a comic a few days ago. Ok, so it wasn’t b/c Peter is, like, 12, but b/c he was like ‘you guys might get to be superheroes 24/7 but some people have jobs so can someone take me back to NYC asap?? Guys???’  Here’s the page. 

And  then 1.7k of fic of borderline silliness happened out of no where. Let’s temporarily pretend everyone isn’t furious with each other and are still kind-of-friends, m’kay?

.

Captain America and the Winter Soldier left behind a deafening silence. Iron Man and War Machine tried to give chase, but weren’t able to stop the jet without seriously injuring the two passengers. They were mad, yes, but they didn’t want anyone to end up dead, or paralysed, or maimed. The jet rose into the sky, higher and higher before disappearing over the horizon.

The barren airport was quiet. Peter was aching all over, still disoriented from the blow that knocked through the air. The formerly building-sized guy that had hit him lay panted, limbs eagle-spread. Hawkeye sat nearby, rubbing at his back and grumbling under his breath. Scarlett Witch was cradled in Vision’s arms, the two murmuring quietly to one another.

Falcon touched down, spread wings retreating. Iron Man and War Machine followed his descent moments after. They refused to look at their former teammate.

Peter stumbled to unsteady, determined feet. His mask was rumbled, a little twisted, but pulled to his chin. Booted feet spun in a wobbly circle, taking in the entire airport, the burning husks of thrown cars, abandoned airplanes, and the dozen exhausted, resting heroes.

“We’re not going to start fighting again, are we?” Peter said. “Because sure, yeah, I’m ready to go again, but some of you guys look old and I don’t want to accidentally break some hips—”

“You are not ready to go again,” Tony told him firmly. His faceplate flipped up, and he looked weary and defeated in an achingly familiar way.

“I am,” Peter insisted. “Did you see me take down a guy that was the size of a building? A building!” Peter limped over to said Building Guy, who squinted up at the teenager, one hand shielded over his eyes. “Also, hey, I’m super impressed about the turning-into-a-building thing. Doesn’t that break all kinds of rules about the conservation of mass? How does that even work? Is it a superpower, or are you an alien like that Thor guy, or is it, like, science—”

“Where did you find this kid?” Hawkeye asked loudly.

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CRADLE OF FILTH unveil the cover artwork for forthcoming album ‘Hammer Of The Witches’

Cradle Of Filth the UK’s most visionary and hellish outfit have unveiled the serene and alluring, yet harrowing cover artwork for their upcoming 11th studio album and opus nocturne entitled ‘Hammer Of The Witches’.

Fiendish main man and vocalist Dani Filth explained the provocative artwork;

“The artwork for ‘Hammer Of The Witches’ was created by Latvian Artist Arthur Berzinsh and is a lavish walk-through of the lyricism, drawing on rich Renaissance themes and displaying them in beautiful yet unsettling scenarios. Half of the detailed pieces are totally original for the release, others are Berzinsh classics cunningly tailored to the themes of the album, which are themes rife with heady witchcraft, be it persecution, retribution or unfettered spiritual liberation. The female form is rampant throughout the artwork, unashamedly displayed in its classical rendition of beauty… and horror.”

Arthur Berzinsh is best known for his defiant neo-symbolism raster graphics and oil paintings, postmodern interpretations of classic myths and refined hooliganism in the playground of contemporary art. He has been proclaimed as a “sacred monster of Latvian postmodernism”. And rightly so, his visually expressive and mannerly works tend to trigger emotions which can make thoughts fidget and wriggle, unable to find a comfortable position among the impressions gathered. His creative work is characterized by a varied range of voluptuous erotica, intensified imagery, dream-like scenes and decorativeness weighed down by visual metaphors and contrasts teetering on the edge of symbolism.

Arthur Berzinsh explains his artwork and concepts;

“In terms of mood, I was looking for the inspiration of this set in the spirit of Faustian romanticism, the ambivalent art of Renaissance that reanimated motives of pagan mythology after the Middle Ages, and of course, the darkly beautiful and charming spirit of Goetia traditions that is filled with the atmosphere of hermetical rituals. My personal conceptual leitmotif that inspires me, is a conflict between the free-thinking and totalitarianism, where the raw power always gains the upper hand over individualism. The act of art is a theurgical act that creates existence in the Platonic reality - reality of ideas. So, at least in this Platonic dimension let’s give the suppressed ones a chance to get their revenge. For me the Goat of Mendes on the cover symbolizes the scapegoat, who’s tired of his humiliating role and wants a payback. This character is an archetypical symbol of libido and other primordial forces and instinctive aspects of a human being. And these forces always have been a menace for those who want to reign over the others, like it’s schematically represented in George Orwell’s “1984”.“

Cradle Of Filth have been ensconced in creative purgatory for the last few weeks in Britain’s darkest rural Suffolk, busy finishing the recording of their album at the reputedly haunted Grindstone Studios. It has been three years since the release of their previous album – the longest gap in the band’s history. And the wait is almost over.

‘Hammer Of The Witches’ the fruit of their diabolical endeavours is due for global release this July via Nuclear Blast.