Once upon a time, in a small village called Villag3, there lived a wicked witch. The villagers were all afraid of her because she had the power to cast spells and turn people into animals. The witch lived in an old, rundown house on the outskirts of the village. Her house was covered in ivy, and there were always strange noises coming from inside. No one in the village had ever seen the witch, but they all knew she was there. Anytime something went wrong in the village, like crops failing or animals getting sick, the villagers would blame the witch.
As a supplement to Village Witch, check out the postcard game Village Witch Post! Write a letter from your character to a friend (real or fictional) telling them about your experience, using the prompts on the front to craft your letter. It can be a standalone mini game or a supplement to this one. If you use it in conjunction with your Village Witch experience, you can write letters for each season as you progress through your year, sharing your journey with your friend, or once you’ve settled into your more permanent village home.
If you use it in conjunction with your Village Witch experience, you can write letters for each season as you progress through your year, sharing your journey with your friend, or once you ve settled into your more permanent village home. Understanding what sort of adventure is being written, or what a specific portion of the adventure is trying to do, is key to getting the right format which in turn is key to helping the DM run it, a major goal of the designer.
Anytime something went wrong in the village, like crops failing or animals getting sick, the villagers would blame the witch. They believed that she was the cause of all their misfortune and that she was cursing the village. One day, a brave young girl named Amelia decided to find out the truth about the witch.
The Village (2004), The Witch (2016) and the Dread of Desolation
The Village (2004) and The Witch (2016) complement each other well. They are both thick with the dread of an insulated universe. Both movies perfectly capture the sense that there is no world beyond the immediate surroundings.
The Village, the often-maligned 2004 M. Night Shyamalan movie, is truly eerie. It communicates not just the physical but psychological isolation, both self-imposed and out of naiveté, of a community. It contains beautiful imagery due to cinematographer Roger Deakins, in particular a slow-motion shot when Joaquin Phoenix grabs Bryce Dallas-Howard’s hand and they run to the cellar that is highlighted so well by Scott Wampler in his article on the scene:
Ladies and gentlemen of the jury, rewatch this scene. See how it builds, moment-to-moment. Consider how impactful that first full shot of the creature is (you’ll need to set aside everything else you learned about this “creature” later in the film, but try and cast your mind all the way back to the first time you saw this film). Admit to yourself that this sequence is a goddamn powerhouse, full of economical storytelling, gorgeously-composed shots and at least one pants-soilingly scary reveal. Even if you hate the rest of The Village, you gotta admit this works.
The Village also features stellar performances between Phoenix and Dallas-Howard that bring to life a well-realized relationship. The thing is, Shyamalan’s direction of his actors tends to be off-putting, as they come across as alien and in a daze, approximating human emotion. This is especially heightened in The Happening (2008). But by The Village being set in the “past,” or in the case of the elders them putting on a facsimile of what they think the past was like, the artifice works.
Most importantly, the artifice and isolation build a palpable atmosphere. I love feeling that there isn’t a world beyond those woods. And when you find out there is a world beyond the wall, I don’t get the uproar. They live on a nature preserve obviously purchased with the money from William Hurt’s father. This doesn’t hold up under absolute scrutiny, but perhaps the inevitability that their ersatz utopia isn’t sustainable is part of the point?
I can see the problem with Howard finding out about the costumes too early, but it sets up this expectation that maybe there are real monsters out in the woods (since Hurt claims he used to teach about them, so a wendigo, big foot?). When she encounters Noah (Adrien Brody) in the costume it’s a fake-out that maybe this is the real thing. And the Noah revelation also pays off the dead, skinned animals from earlier in the movie.
So yes, it all makes sense. It’s not a Fight Club/Sixth Sense level of cleverness, but it at least has an internal consistency.
I’m also intrigued by the moral quandary of the movie’s ending. They’ve apparently had no crime for 30 years, so they’ve created a utopia. Noah is the crux of the moral question: is he proof that even an innocent can commit evil acts, or are his actions a consequence of his learning disabilities (and possible inability of the village to handle his disabilities)?
Are the elders making the right choice at the end? I think they’re not. The whole thing is reminiscent of Shirley Jackson’s “The Lottery,” which I’ve mentioned before in relation to its influence on Stephen King. Jackson has made her way back into the public consciousness recently with the 2018 adaptation of her novel The Haunting of Hill House into a Netflix series, but “The Lottery” is what sticks with me.
In a small New England village, the locals partake in an annual event to ensure a good harvest. Paper slips are put into a black box, and each person in town has to pick from the box. If you get the slip marked with a black box, you’re stoned to death by the citizens. Although there are some rumors mentioned in the story that nearby communities in the north are talking about giving up the lottery, and some have done so, this village maintains the tradition even though the signs are there that they can’t keep it up forever.
Similarly, the town in The Village is not a sustainable community. They’re in denial about the seeds of corruption that have been laid and eventually the house of cards will collapse.
By comparison, The Witch (2016) is about a family that has an unsustainable lifestyle. This is a family that is in disarray, as they’ve been driven out of their village by the hard-line conservatism of the fa the r, William (Ralph Ineson).
They build a cabin out in the woods, away from the influence of society, but there they repress the ir basic human natures. As director Robert Eggers explained in an interview with Inverse.com:
That sense of isolation, so closely tied to a particular place, is what inspired Eggers to conjure the morality tale of The Witch in the first place. Raised in the northeast United States, Eggers subtitled the movie “A New-England Folktale” partly because the time period of the story he wanted to tell necessitated it. But also because of the deep-seated and almost occult history inherent in the mythological roots of his native land.
“Growing up in rural New Hampshire, there are all these little dilapidated colonial farm houses and graveyards in the woods,” he explained. “It seemed to me that the woods behind my house were haunted and I felt like — without getting too hokey — I could feel the ghosts of the Puritans or witches around me.” Taylor-Joy added, “I was raised Catholic and the lines that Rob wrote made me think this is an ancestral fear that has come down from generation to generation, inherited by people,” she said. “That excited me. It’s primal.”
That primal environment brings petty grievances to the fore. The mo the r, Katherine (Kate Dickie) is jealous of her daughter, Thomasin (Anna Taylor-Joy), who has the beauty of youth and the affections of William. And while William’s attention is hopefully only innocent, Caleb (Harvey Scrimshaw), t he bro the r, is absolutely lustful for Thomasin.
Thomasin’s blossoming womanhood is, indeed, a powerful theme of the movie as well as her feeling the constraints of societal constructs. Restricted from exposure to other girls and female role models, all she has is her resentful mother who is also distracted by a new baby, at first, and later grief at having lost the baby. When one day Thomasin is out playing with the baby, he is snatched away by the titular witch. Katherine blames Thomasin, and a rift that was already there opens even wider.
This isn’t helped by William’s masculine pride that makes him feel inadequate in trying to take care of his family. Along with his inability to protect the baby, he has to sell his wife’s silver cup for hunting gear. Consequently, there’s a recurring motif of him taking his aggression out on chopping wood.
This is contrasted against the dark virility of Black Phillip at the movie’s end. This is just one of the many scenes that make The Witch feel dangerous, like it has tapped into something truly evil that we aren’t supposed to be seeing. Previously a goat living on the family’s farm throughout the movie, Black Phillip is implied to be Satan himself. He takes human form and presents himself to Thomasin at the end. The scene is beautifully shot, with only glimpses of his face and clothing as he stands behind Thomasin, camera facing her, and you only see the lower half of his face obscured by his hat. He’s dressed immaculately, with boot spurs providing a nice tactile touch.
He’s clear and direct, with a heavy, baritone voice. Mostly importantly, it is Thomasin’s wish to speak to him:
Thomasin : Black Phillip, I conjure thee to speak to me. Speak as thou dost speak to Jonas and Mercy. Dost thou understand my English tongue? Answer me.
Black Phillip : What dost thou want?
Thomasin : What canst thou give?
Black Phillip : Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously?
Thomasin : Yes.
Black Phillip : Wouldst thou like to see the world?
Thomasin : What will you from me?
Black Phillip : Dost thou see a book before thee?… Remove thy shift.
Thomasin : I cannot write my name.
Black Phillip : I will guide thy hand.
The movie is really about communication, or lack the reof. Thomasin is clear in her intentions, and follows the rules of engagement with this occult circumstance, first with her voice and then with the written word. And Black Phillip, although he may be Old Scratch himself, is clear about what he’s offering. This is in stark contrast to the passive-aggressive, coded language of Thomasin’s family, who hide behind scripture and duty to the family unit.
The family’s communication is also about control. William tells Caleb that he sold Ka the rine’s silver cup, but doesn’t tell Ka the rine. William and Ka the rine whisper about sending Thomasin away to work for a family behind Thomasin’s back. The younger children, Jonas and Mercy, spread lies. But Black Phillip, he comes when you call and he keeps his promises of agony and ecstasy.
Everyone is trying to force some order into a chaotic world, and the y all fail. Ultimately, Thomasin gives herself up to the chaos and relents any control. So The Witch is not just about religion or faith but how those things are used as means of overcompensation. This overcompensation stems from being isolated and forced in together, away from the checks and balances of a greater culture.
The woods are lovely, dark and deep, but The Village and The Witch encapsulate the loneliness and paranoia that can result from cutting yourself off from the world. Both tap into a primordial, somewhat narcissistic view of caring only about your immediate surroundings and your closest friends and family. That kind of echo chamber can lead to ruin.
Thomasin : Black Phillip, I conjure thee to speak to me. Speak as thou dost speak to Jonas and Mercy. Dost thou understand my English tongue? Answer me. Black Phillip : What dost thou want? Thomasin : What canst thou give? Black Phillip : Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously? Thomasin : Yes. Black Phillip : Wouldst thou like to see the world? Thomasin : What will you from me? Black Phillip : Dost thou see a book before thee?… Remove thy shift. Thomasin : I cannot write my name. Black Phillip : I will guide thy hand.
She had heard the stories just like everyone else, but she was determined to see for herself. Amelia sneaked out of her house one night and made her way to the witch's house. As she approached the house, Amelia noticed a flickering light coming from inside. She cautiously entered and found the witch hunched over a cauldron, stirring a potion. The witch turned and looked Amelia in the eyes with a wicked grin. Amelia was terrified but managed to ask the witch why she had been causing so much trouble in the village. The witch let out a cackling laugh and explained that she had never done anything to harm the village. She had simply been trying to find ingredients for her potions, which required rare plants and animals. Amelia was surprised by the witch's response. She had always assumed that the stories were true and that the witch was evil. But now she saw a different side to her. The witch told Amelia how lonely she had been since everyone in the village feared her. Amelia realized that she needed to do something to change the villagers' perception of the witch. She went back to Villag3 and gathered all the townspeople together in the village square. She told them what she had discovered and pleaded with them to give the witch a chance. At first, the villagers were skeptical. They had been living in fear for so long that it was hard to believe the witch could be anything other than evil. But Amelia's words struck a chord with some of them, and slowly, opinions began to change. The villagers decided to invite the witch to a town meeting. They wanted to hear her side of the story and see for themselves that she meant no harm. Surprisingly, the witch accepted the invitation and showed up at the meeting. She explained to the villagers that she had never cast a spell on anyone and that she had been wrongly accused all these years. The witch even offered to use her powers for good, helping the village with her magical abilities. The villagers were shocked by the witch's sincerity and willingness to help. They realized that they had been quick to judge her without knowing the full story. From that day on, the village of Villag3 lived in harmony with the witch. She became a valued member of the community, using her magic to bring good fortune to the village. And so, the tale of Villag3 and the witch teaches us that we should not judge others based on rumors and stereotypes. It reminds us to look beyond appearances and to seek the truth before passing judgment..
Reviews for "Embracing the Supernatural: The Intriguing Lore of Villag3 and the Witch"
1. John - 2 stars - I was really excited to watch "Villag3 and the witch" as I had heard so many positive reviews. However, I was left sorely disappointed. The plot was incredibly predictable and lacked any depth or originality. The characters were also one-dimensional, making it difficult to connect with or care about their struggles. Overall, "Villag3 and the witch" fell flat and failed to deliver on the hype.
2. Sarah - 1 star - I don't understand why "Villag3 and the witch" received so much praise. The animation was mediocre at best, with clunky movements and poorly designed characters. The story was shallow and poorly developed, quickly becoming repetitive and unengaging. The attempts at humor were also forced and fell flat. I was bored and unimpressed throughout the entire movie.
3. David - 2 stars - Despite the promising concept, "Villag3 and the witch" failed to capture my attention. The pacing was off, with scenes that dragged on for too long and others that felt rushed. The dialogue was cheesy and cliché, making it difficult to take the movie seriously. Additionally, the voice acting was subpar and lacked emotion. Overall, "Villag3 and the witch" missed the mark and left me feeling unsatisfied.
4. Emily - 2 stars - I had high hopes for "Villag3 and the witch", but it didn't live up to my expectations. The storyline was predictable and lacked any real surprises or twists. The animation, while colorful, felt dated and lacked the attention to detail I was expecting. The characters also felt overly exaggerated and lacked depth. Overall, "Villag3 and the witch" was a forgettable movie that failed to leave a lasting impact.
5. Michael - 1 star - "Villag3 and the witch" was a complete waste of time. The plot was convoluted and confusing, making it difficult to follow or understand the motives of the characters. The animation was also cheaply done, with choppy movements and poorly rendered backgrounds. I found myself uninterested and disengaged throughout the entire movie. Save yourself the disappointment and skip "Villag3 and the witch".