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Bane runes in Pathfinder 2e are a powerful way for arcane spellcasters to enhance their spells and give them a unique twist. These runes function as spellcasting aids, augmenting the spells cast by the spellcaster. Bane runes are found on certain magical items or can be inscribed onto an object by an arcane spellcaster who has learned the appropriate formula. When the runes are activated, they infuse the object with mystical power that can be released through the casting of a spell. When a spell is cast using a bane rune, it gains additional effects or modifications based on the specific rune used. These effects can differ greatly depending on the type of rune and the spell being cast.

The Love Witch (2016) herself, Elaine Parks (Samantha Robinson) is a woman on a mission–to get her man. She doesn’t know who exactly he is yet, but he’s out there, waiting to shower her with the love she deserves to receive and that was withheld by her (dead) ex-husband, Jerry (Stephen Wozniak). She tries in vain to convince those around her that she knows just how to get him, facing skepticism from non-witches like Trish (Laura Waddell) and warnings from fellow witches like Barbara (Jennifer Ingrum). The three of swords tarot card, an omen of heartbreak and emotional turmoil, follows Elaine through the film, as spells and potions repeatedly fail to bring her dream man into her arms.

Indeed, social issues intersect with this question as well especially in the society Biller is commenting on, masculinity has been exaggerated to become almost unrecognizable from its spiritual root. Then Richard Robert Seeley , Trish s husband, whom she seduces while her friend is out of town, before cutting off the affair because he s too clingy.

These effects can differ greatly depending on the type of rune and the spell being cast. Some runes may increase the damage of the spell, while others may grant bonuses to certain checks or allow the spell to target multiple creatures. One of the unique aspects of bane runes is their ability to be upgraded.

The Love Witch and Her Power

The Love Witch opens on a red convertible car driving down a coastal highway, a poised and undeniably beautiful woman (Samantha Miller) behind the wheel. She smokes a cigarette and we see the 3 of swords tarot card on her center console: this is our first introduction to Elaine Parks, the titular love witch. The film follows Elaine as she uses sex magic on her suitors so that they fall in love with her, only to be disappointed by the reality of these men’s romance.

Throughout, director Anna Biller focuses on the natural power of women and toxic masculinity through a strongly feminist lens, using the figure of the witch as a metaphor to explore a more universal social question. Biller liberally applies a 1960s slasher and camp treatment, creating a period piece feeling that remains effective in the current day. The Love Witch definitely uses the occult as a symbolic device, and yet doesn’t shy away from exploring its own spiritual messages. The film holds plenty of allegory for the divine feminine, the illusion of duality, and the ways we use energy to manifest our will. Considering all that there is to be gleaned from the feminist perspective, I want to look at the spiritual aspect of that.

Two long monologues in the film almost directly present the thesis of Biller’s argument. Gahan (Jared Sanford) and Barbara (Jennifer Ingrum), the leaders of Elaine’s witch coven, talk about the history of women in witchcraft and their enhanced spiritual powers, as well as the perpetual illness of toxic masculinity. “They teach us that a normative human being is a hyper-rationalist, stoic male”, they say, implying that the balance, the duality, between male and female energy has been disrupted in our society. The polarity principle (male-female duality being only one example) is an interesting one because it seems to reinforce the gender binary; not exactly the sort of thing you’d expect from a modern feminist film. Polarity is one of the seven principles of Hermeticism, a school of occult thought named Gnosticism, which informed the development of many esoteric religions, such as Wicca (which this film explores). The principle revolves around the idea that the illusion of duality is a construct created by our human ego, and that one can see the truth by breaking this illusion. Ultimately, it’s not the binary that’s being glamorized, but the fact that it’s a social or human construction. The Love Witch takes this occult principle and applies it on a social level as a tool in its feminist argument, but it definitely has a personal application as well. Spiritually speaking, power is accessed by looking beyond the human and into the divine, which Biller shows at other moments in the film, as we see next.

One scene that stands out occurs as Elaine finds her first target, Wayne (Jeffrey Vincent Parise), and gives him a hallucinogenic drink. As he slips into psychedelia, kaleidoscopic rainbow rays float around Elaine, and she takes off her black dress and boots to reveal vibrant multicolored hues lining her clothes. We see a dancing Elaine weave her sex spell, and as Wayne becomes hopelessly entranced she fulfills her title of the Love Witch. Wayne fills in for ego as he witnesses a duality fall to pieces before him. The clothes come off, black and rainbow alike, and the shell holding the spirit captive cracks open. There remains nothing standing between the untempered inner self (Elaine) and the defenseless mind, and so Wayne becomes overwhelmed. The mere presence of Elaine’s human divinity leaves the ego shattered, unable to continue, and while this happens in the film’s realm of fantasy, it’s not a power we as humans are removed from. Any time we read a tarot card, do dream work, meditate, we ourselves tap into the same inner divinity and loosen ego’s hold. In the film, the spiritual liberation literally lining the femme fatale’s clothes redefines this archetype into an icon.

Elaine strikes again as she encounters another male victim of hers, whose name I won’t include for spoiler purposes. We have evidence enough of Elaine’s power by looking at her actions alone. She wears a black dress and a smokey eye and she seduces a second defenseless man with her dance. She puts on a show, starts stripping into red and black lingerie, and moves hypnotically with a red boa. Much like the overwhelmed Wayne from earlier, the man asks: “Who are you? What are you doing to me?”, to which Elaine replies: “I’m the love witch. I’m your ultimate fantasy.”

This second spell shows Elaine accessing a man through his weakness, his carnality; quite literally, the spiritual overpowers the ego. Biller construes this power as that of woman over man, and indeed it can be that as well. Feminine energy, that is, nurturing, rooted, or healing energy (which is not bound to gender), has an affinity for spirituality in ways that its masculine counterpart does not. Indeed, social issues intersect with this question as well: especially in the society Biller is commenting on, masculinity has been exaggerated to become almost unrecognizable from its spiritual root. Elaine plays into the outdated gender roles that corrupt masculinity imposes, but she does this as a lure, infiltrating the evil before destroying it. At heart, The Love Witch says that each woman, each queer person, has an inner witch that affords them this power. This same witch is targeted by systems of power, which see her as a threat to their dominance because of her power and her awareness of and willingness to use it.

So what did Elaine teach me? To begin with, she’s a testament to the raw power of women and witches: she instills fear and she commands respect. Her spell-craft is a reminder of the illusion of duality and separation, and of what is possible when we try to extract ourselves from the ego. And finally, what is arguably the most important lesson from this movie: never trust a Pisces man.

As spellcasters gain more experience and become more proficient in their craft, they can improve the potency of their bane runes. These upgrades can enhance the effects of the rune or grant additional abilities to the spell. The use of bane runes in Pathfinder 2e adds a new layer of versatility and customization to arcane spellcasting. It allows spellcasters to tailor their spells to suit their playstyle or adapt to the challenges they face. The use of bane runes can be a strategic choice, as different runes may be more effective against certain types of creatures or in specific situations. Overall, bane runes are a powerful tool for arcane spellcasters in Pathfinder 2e. They provide a means to augment spells and add unique effects, allowing spellcasters to unleash their magic in new and exciting ways. With the ability to upgrade these runes, spellcasters have even more opportunities to enhance their spells and further define their character's abilities..

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