Law of Casuality Write-Up (Pt.1?)
Warning!!: the following contains self-indulgence to the likes you’ve never seen before
Law of Causality: The proposition that everything in the universe has a cause and is thus an effect of that cause
Happy Sulemio week! Since it’s Fantasy Day, I decided to finally get cracking on this freeform analysis of my G-Witch series— Law of Causality. I’ve mentioned before this may be my favorite thing I’ve ever written. I was in a manic ADHD-fixation trance while writing this series. If you want the literary version of a triple-layer myth cake, this may be for you. I was considering an essay-style dissection but that’s taking too long. So here are my loose insights into this series as a whole!
Art by my friend Tay, or @TaruhtQarineXiV on Twitter
As Above, So Below: Where it all began. I’ve mentioned in the A/Ns that this was spawned from my deep looks into what the show was taking inspiration from (imo). It’s my little love letter to Sulemio and gwitch, which quickly grew into something more.
Queen in White/King in Red—Beyond the alchemy, I wanted titles that sounded fairytale-esque while also hinting toward another mythos. Hastur or the King in Yellow (Signalis and True Detective enjoyers know that name) The initial King in Yellow appears in Haïta the Shepherd as the benevolent god of shepherds; a domain Hastur shares with Mercury. The short story is about the impermanence of happiness and how it can only be found once you stop seeking it. It’s a theme I ran with for the entirety of LoC, particularly Elnora. The later incarnations of Hastur are malicious eldritch figures. Suletta vs Prospera 😊
On Faerytales: LoC is obsessed with cycles and the rhyming of history. To me, fairytales embody that perfectly. The oral traditions of them are never the exact same, flavored with variations throughout the years. It’s how we got mythology to local folklore to Brothers Grimm to Disney renditions. That’s why I used Eros and Psyche and Sleeping Beauty for Suletta and Miorine (I’m convinced the show does this too but ymmv)
The latter is inspired by the former with Psyche placed under a sleeping torpor Eros breaks. In Sleeping Beauty, the offending curse is a spindle and she’s barricaded by a witch in the form of a dragon. The Hawthorn serves as Mio’s ‘spindle’ as she suffers depression and isolation in the wake of her mother’s vanishing. Prospera (coded as witch Satan) is the dragon. Notrette is the fairies bearing gifts. In a twist, Suletta wakes her with Love as Anteros in the place of Eros. Yes I layered this cake excessively. It’s probably still confusing; I’m sorry.
Tldr; I used Sleeping Beauty alongside Greek myth.
Chaos and Night: Paradise Lost twisted into a toxic witch romance. One of the most insane ideas I’ve had, but I adore it to bits. Both Prospera and Notrette are vested to the teeth with mythology and theology.
Notrette: Besides Thelema’s Nuit/Babalon and cuing her as ‘God’, as a being of creation, opposed to the Devil, I fit so much into her character. She’s Lilith, Pandora, Circe, Ceres, Virgin Mary, the Morrigan, Ariadne, a deconstruction of the Mother Goddess from neopaganism, and the capricious Queen of Elphame from folklore.
Another figure I styled her after is White Boann, the Dagda’s mistress and wife to Nechtan (cognate with Nuada or the silver-hand) which is where you get the hazel tree link. Boann names her son Aengus because the Dagda was her ‘one desire’.
Circling back to Paradise Lost, she also plays the willing Eve who falls to Satan’s temptation in place of Miorine. There’s likely things I’m forgetting; I was so normal plotting her character.
Elnora: What can I say about this glorious wreck that wasn’t in the text? Venus, The red dragon Satan, the Beast from revelation, pagan Horned God, Neptune to Ceres, Theseus and Bacchus to Ariadne, Prometheus to Pandora, every Phosphoros, etc I’d be here all day. She’s coded as Orion the hunter who’s undone by Gaia and also the Teumessian fox to Suletta’s Laelaps. I mentioned she’s the riders of the apocalypse at the end too. White Rider is Suletta but her mom fulfills the rest; ‘Riding’ Vim as War, Riding Belmeria as Famine while wielding the ‘scales’ (Notrette as Libra) Finally, she wears the visage of death to bring Pestilence to the kingdom. I squeezed in the other omens of revelation with symbolism such as the crown of wormwood (Revelation 8:11)
When it comes to her role as Prometheus, I coded both Delling and Mio as birds of Venus (swallow and dove respectfully.) It’s meant to symbolize the ‘eagle’ devouring her was primarily herself all along. She was the architect of her ruin, lampshaded by Notrette from the beginning.
Remember Haïta the Shepherd? In the story, there is a maiden whom embodies the ephemeral nature of happiness. Notrette is Elnora’s transformative destruction into cathartic acceptance/happiness. In Paradise Lost, Satan succeeds at banishing Eve and Adam from the garden but similarly fails when he’s turned into a snake. She’s lucky I was more metaphorical.
I liberally used Revelation 12, the woman and the dragon, as well. Look at me shipping crackships from the Bible. This is mostly self-explanatory, ofc Christ is genderbent and a role shared by Sulemio. Mio’s allergy to iron doubles as a nod to this, since she doesn’t take her father’s kingdom in this universe.
There is more, such as Dionysis/Bacchus being a many-faced god with younger and older versions paralleling the Horned God’s dual aspects and the Dagda’s relationship to Aengus which led to me pitting Suletta as a lighter mirror of Elnora. But I’ll leave it here for now.
Writing this all out has me questioning what I was on, and how I can reproduce it. If you got this far, thank you for humoring my unabahed love for this world. Happy Fantasy Day, Sulemios! ❤️
