#Musing and meta

[outofangband]

Tolkien and July: linguistic thoughts

My monthly word of the day post where I explain Tolkien’s words for the name of the month in his elven languages is delayed until today because his words for July are the most vague with no clear translation on the main calendar!

So I made a post for the given word but I also offer a word I invented!

In the appendix for The Lord of the Rings, July is named as Cermië in Quenya, Cerveth in Sindarin. The appendix for Unfinished Tales translates these to mean simply the seventh month though the root for seven or seventh is different than seen here. Older translations of July mean simply “After Summer”, Nólairë in Quenya and Cadloer in Sindarin

Anyways my idea for a Quenya name for July is luinësë meaning Blueness. This fits the pattern of other month names. The blue is for the open sky in my part of the world during summer but if anyone has other words they associate with July let me know!

Luinith is the Sindarin version!

[outofangband]

This isn’t canon because it’s from the Lays of Beleriand but Morgoth tells Lúthien that Angband already has minstrels

“Of what avail here dost thou deem thy babbling song and foolish laughter? Minstrels strong are at my call”

Of course he could be lying, just as I assume he’s lying about the Valar having harems in Aman, which he also claims in this passage

Is there any proof that Minas Tirith had court jesters? Edoras? What about Angband? Did Morgoth have some orc prance around when he was feeling gloomy? 

[stompandhollar]

Honestly the most revolutionary thing about Gravity Falls to me is its commitment to sincerity.

I’ve been listening to Alex’s podcast where he goes into the details of each episode with different storyboard artists and writers who worked on the show, and it just baffles me how… cared for the story is. Right now in media there’s been an uptick in satire, and shows making fun of themselves for existing, or taking the piss at their own content to “win” fans to their side. It’s like whimsy is gone from so many pieces of media. But Gravity Falls just doesn’t… do that. It completely embraces itself. Weirdness and all. And so does the team behind it. I’m not used to something I care about being so cared about by everyone surrounding it.

Here’s this cartoon, written and illustrated by an entire team of people saying, “no, we’re serious. we mean this. we made this on purpose and we made it important.”

Throughout the podcast, Alex discusses little ins and outs of each character, offering so much deep internal struggles and enriching the story even farther. And listening to him unpack it with the utmost sincerity just warms my heart. Each character is so dynamic because they were cared for by people who imbued them with sincerity.

That’s exactly why we get quotes like “Shame is powerful, but it grows in the dark,” as Ford realizes the trauma he’s hidden for so long is being embraced by his family, diminishing it’s weight on him through their immediate support.

It’s why we get Alex describing Stanley with quotes like; “I always in my gut thought of him as somebody with a huge well of sadness, a loss of human connection. And that need to please? That need to get laughs from the crowd, and putting on a big show? He’s trying to get from them the affection he never got from his family, and that he lost with his brother.”

Or detailing how Mabel might be a goof… but half the time she’s doing a bit, because she’s really more mature than her brother and doesn’t want him to grow up too fast. She’s trying to help ground him and bring lightheartedness into his life. Because she knows otherwise, he’ll become too self isolated.

And those two mini character studies he dropped so casually in these podcast episodes just… color the show. It’s why the show survived so well even after ten years. It’s gruff-old Stan always calling his niece “Pumpkin” and “Honey”. It’s the family always holding hands without it behind laced with a joke, and falling asleep on one another in the car. It’s Alex explaining that people toyed with other endings, other plot lines, other twists, but it was always going to end with Stan and Ford mending the family tie they severed thirty years ago. Because that was their story. Messes and family and care.

Ten years ago, watching it for the first time as it came out, I felt all that. But now, as an adult, knowing that all the other adults who made it felt the exact same way? :,) What a special story we all got to grow up with, and get to continue being apart of.

[angrybubbles]

Old Man Daniel being a survivor of the AIDS epidemic means so much to me.

Like

Here is this grumpy old man who is dismissive of his queer experiences. It was a place to get high. Fulfilling the social contract. An excuse, that's all. He's into counter cultures after all.

But Louis and Armand changed his life forever.

Should Devil's Minion have happened in the past, that crosses into the AIDS epidemic. San Francisco, the beating heart of the gay community in America in the 70s, a ghost town in the 80s. That's where we run into Daniel. He would get into a relationship that meant death for so many. Running away from the monster that he loves that could symbolize his own sexuality. Finally embracing it when he realizes the monster is what he finds fascinating. The fear is what makes it worth it. The only relationship he dedicated himself to a man, the one that would have convinced him he loved men too. That it wasn't just for the high.

In the books, Daniel didn't make it. He was sick, and dying. Could he have died of AIDS? In the arms of his male lover? It's open to interpretation. He was turned, stuck forever in his early 30s and a ghost of his former self.

But Old Man Daniel? Who wrote a book called The Shadow on The Skin about the crisis because those were his people. The people he knew, even if now he could pretend he was never a part of it. He can claim he was just an observer.

But if vampirism is a metaphor for queerness... if Devil's Minion did happen... this is an queer elder. One who survived because they were shoved in the closet by the one who loved them. Because they loved them alive more than dead. Because some of the people who made it did so because they were there for support, because the fear was too much.

Rolin Jones you have the opportunity of a lifetime.

[lesbomaticlove]

And remember kids,

If you think lgbtqia+ people shouldn't have basic human rights, LUFFY WOULD HATE YOU

If you think women are lesser than men simply for being women, ZORO WOULD HATE YOU

If you think billionaires deserve all the money they made off the backs of working class people, NAMI WOULD HATE YOU

If you think compassion and basic human emotion makes someone worthy of ridicule, USOPP WOULD HATE YOU

If you think women exist to serve men and shouldn't make decisions about their own bodies, SANJI WOULD HATE YOU

If you think it's okay for healthcare to be denied to someone for any reason, CHOPPER WOULD HATE YOU

If you think it's okay to censor research, education, and communication, ROBIN WOULD HATE YOU

[faint-taste-of-almonds]

yes there's a lot of things to criticize about Star Wars but one thing i will always love it for is being so unabashedly tragic

i'm sure it's been said before, but one of the main things i think powers the SW fandom (fics in particular) is the (in)evitability of it all

time travel fix-its are one of the most popular sub-categories of fics that i've seen (for the prequels at least) but i see it much more rarely in other fandoms. i know each fandom has their own niches that they dig into but star wars fic writers took one look at this decades long story of people who were doomed from the start and said 'not in my house bitch'

and i'm never tired of it, because there's so many places where just one different action could have changed the story entirely, but didn't

was it over the moment Palpatine succeeded in feeding Anakin's fears and his distrust toward the Jedi? the moment the Sith gained control of the senate? what about when the war started, when the Jedi were made generals of men designed to be their executioners? what about when Dooku left the order? when Qui-Gon Jinn died, leaving barely-knighted Obi Wan Kenobi to raise a child he had no idea how to care for? when the Jedi massacred the Mandalorians at Galidraan, leaving Jango Fett primed (hah) for revenge? when Palpatine, and thus the Sith, first gained influence? when the Jedi were tied to the Republic, all the way back at the Ruusan Reformation?

there are so many little moments that turn into this huge web of cause and effect when you take a step back. and in canon, these characters are dooming themselves while we watch, but what reason do they have to do anything different? they don't know they're in a tragedy - its dramatic irony at its goddamn finest

but there's this thing about decisions: for it to be a choice, there has to be another option. and our heroes make their mistakes because that's what they do, while we aren't privy to that other option, leaving that little what-if. it's a favorite human pastime, to think about what might have been.

we start at episode 4, though, fourty or so years after what you could arguably call the start, and find ourselves watching the dominoes fall in place throughout 1, 2, and 3.

and we can hate the choices, hate the tragedy, hate what happened to our beloved characters, but we knew. we had the luxury of knowing.

it's a love story, it's political intrique, it's sci-fi at its finest, and they were dead from the start.

[contactlessdrivethru]

there is something unique and deeply special about monkey d luffy as a protagonist. he’s overwhelmingly ADORED by the fandom. he’s consistently the most or at least top 3 most popular characters in the whole series. peoples takes about him are gushingly positive. and that’s… really uncommon.

a LOT of fandoms i’ve witnessed or been in have a tendency to favor characters other than the main character. especially in anime. the main characters are often written as a blank slate for readers/watchers to project onto, but that makes them not as interesting and so they don’t get the fan attention.

but luffy is so far from that. and he’s ALWAYS been this way. we love him so much. he’s the heart of the story and the heart of the fandom in every single way. and i think that speaks to how well-written he is as a character. he’s fun and charming and complex and interesting and he makes us laugh and cry and cheer and hope and love. he’s able to inspire so much joy in people, both in his world but also in this one. and i think that’s really special. i feel so grateful to have found this story that means so much to me, and i’m so grateful that luffy exists.

[neitherofusideal]

I feel like we don't talk enough about the face Will makes when Hannibal makes the offer for them to leave together without hurting Jack, or Alana, or anyone else.

Like he was genuinely taken aback... that he can't believe it was even being offered at the table. That it was a choice that Hannibal was willing to take.

It was likely then that he realized that Hannibal's desire for his company ran far deeper than he had imagined. That it's no longer just about 'his becoming'. That Hannibal wants to be with him—to run away with him. That the promise and assurance of his company is far more important to Hannibal now over the gratification that would come from seeing Will embracing his becoming.

[outofangband]

I was encouraged by @from-the-coffee-shop-in-edoras to add this, but the description of Éomer’s grief reminded me of the description of Húrin’s, both in The Children of Húrin where he expresses both grief and rage after his daughter’s death, including attempts to write a song about it* which I’ve always found especially poignant, and in “The Wanderings of Húrin” where his grief over Morwen’s death and also, of her suffering, is expressed

@from-the-coffee-shop-in-edoras also pointed out there are other interesting parallels between the two including their speeches

*he finds himself unable to and breaks his harp into pieces, in my opinion a foreshadowing of the inability to express the grief of the unnumbered tears

I do love that in Rohan culture, it seems that it's the custom for men to go out and fight and die heroically, and for women to honour their sacrifice by crying over their bodies or at their funerals. The men are to be brave, the woman to be loving. The men are to do great things. The women are to remember.

But in the film, whereas Eowyn's most iconic moment is her slaying of the Witch King, a great, heroic deed that cements her place in history, Eomer's most iconic moment is (arguably) his guttural scream when he sees Eowyn dead on the ground, dropping to his knees and cradling her to his chest.

Not only is Eowyn's most iconic moment a scene in which she takes on, by her culture's definition, the man's role, the most important role of a man, to die heroically, Eomer's most iconic moment is when he takes on the "woman's" role, to grieve.

I do love his "Death!" charge in the books so much, but because of this parallel between the siblings, I also love the film version where there is no battle for him to fight, no justice for him to wreak, there's nothing for him to do but cradle Eowyn to his chest and rock her back and forth.

[outofangband]

Beleriand is wide and houseless for exiles

AKA that one Morwen and generational trauma meta I revise a couple times a year

updated post with more meta on the House of Bëor in general and has been updated to read like a real post and not just rambling!

My general tag for Bëorian cultural trauma is houseless for exiles  where I have a lot more like this

So Morwen is obviously one of my very favorite characters in Tolkien’s world, in general  and she is in my opinion one of the most interesting figures in The Children of Húrin, though as she is separated from Túrin for so long there are long periods of her life we have only summaries on. I find these fascinating to speculate on and read/write about

I wrote this post while very tired so I hope this makes sense and is ok, I just wanted to throw out some thoughts and I wanted to write more about the trauma her people went through during Dagor Bragollach

The Battle of the Sudden Flame and the aftermath is such an important part of Morwen’s life that likely plays a significant part in shaping her character though it happens before the events of the book and is mentioned only briefly, much information needing to be found through inference and connecting details

The House of Bëor lived in Ladros in Eastern Dorthonion where Aegnor and Angrod, sons of Finarfin, lived and lead a defense of the Watchful Peace, maintaining a friendship with their Edain allies. Ladros was a cool land of pine forests and steep, craggily slopes that lay South of the great green fields of Ard-Galen and then of Angband and the regions of Morgoth.

On a cold winter night in the year 455 of the First Age, rivers of flames, many choked in poisonous fumes, were sent down from the Thangorodrim. These utterly devastated Ard-Galen turning it from the fertile, green lands to a desert made uninhabitable by the lingering clouds of toxic air. Next came a legion of balrogs with Glaurung leading them and a massive army of orcs that quickly invaded Dorthonion, killing countless elves and humans including Aegnor and Angrod, taking a large number captive and occupying and/or displacing the rest of the Bëorians. Barahir, the father of Beren led a group of outlaws including the fathers of Morwen and Rían. Their group was killed in a massacre by the lake Tarn Aeulin several years later after

(It’s likely Morwen knew nothing of this until she came to Doriath, if even then)

During the chaos of the invasion of Ladros, Emeldir, the mother of Beren fought to protect the children of the Bëorians, many if not most of whom had been orphaned. She managed to lead a group of refugees Southwest to Brethil where the Halidan took them in. Later, though there is not much said in the text about this, a small group of the surviving Bëorians would come to Dor-Lómin in Hithlum where the Hadorians lived. (Note: I have two posts speculating on their route, here and here)

Morwen was elven or twelve when Dagor Bragollach broke out, depending on when in the year her birthday is*. She was likely orphaned during the invasion though we know only that she was separated from her father who was later killed. She was among the Bëorian refugees who would come to Hithlum though her age at the time is unknown. There is so much that is unknown about her life before the events of the Narn.

I also spoke about this on a few different posts, but I’ve oft wondered if Morwen’s time in Brethil as a child was not a good one. Our glimpse into how some of the Haladin treat those who are mentally ill, neurodivergent or traumatized in The Wanderings of Húrin is a very bleak one and although this is certainly not representative of all the people of Brethil, this combined with parts of Morwen’s conversation with Húrin prior to the Nírnaeth leads me to believe she does not look at her time there with good feelings

Both the text of the Narn and Morwen herself describe her as an exile; one who has not only been forced to leave their home but who is forbidden from returning.

The word diaspora obviously comes to mind as well.

There is a bitter shame that bubbles beneath her cloak of pride, an unearned shame but one that has left its mark on her nonetheless (another thing I've mde way too many posts on tbh; her grief and pride are completley inextricable from each other, almost every line in the Narn mentioning her pride or her more severe qualities comes with the addendum that as much as it is directed at others, it is also directed at herself; "for Morwen was as stern with others as with herself", "she did not seek to comfort him any more than herself, etc")

That Morwen is a refugee in Dor-lómin is an important aspect of her character as is her likely trauma from Dagor Bragollach, how flames and armies drove her and her people from their home, killed so many of them, destroying their families and way of life.

It’s not difficult to speculate on the extent of violence that she witnessed and the horrific trauma she was barely old enough to understand. Eleven or twelve is such an age, just starting to understand your own identity and place in your family and community and culture and then to have that so brutally torn apart…

(I personally headcanon that she was injured in the Bragollach and had burn scars but that’s a different post)

I think her pride is very much tied to the fact that she is one of the only remaining members of the House of Bëor, a people who Morwen herself considers all but gone as she says to her husband in the first chapter.

I’m thinking about how this impacts her choice to remain in Dor-lómin after Nirnaeth, thinking that perhaps this time nothing short of another fiery inferno will drive her from her home. How she will not flee again (even as Rían, another of the few survivors, runs again and runs until she cannot get up).

And what’s on her mind when she speaks with Húrin before he leaves for Nirnaeth, how she believes her House to be fallen and fears Húrin’s following suit. The destruction of Hithlum would mean another home taken from her.

I’m also wondering about her significantly less optimistic view of the elves. While Húrin is heartened by the knowledge that the lords of the Noldor have known Valinor and the Valar themselves, Morwen thinks quietly of the exile of the Noldor from Valinor. Which also makes her being labeled elffriend (derogatory) and accused of power akin to theirs

“Húrin Thalion, this I judge truer to say: that you look high, but I fear to fall low.”

That Morwen lives in her own home under occupation for so long adds yet another painful irony to that quote.

“Beleriand is wide and houseless for exiles” is also just one of my very favorite spoken lines by Morwen. I just always feel so strongly that Morwen is not just talking about her hypothetical future there but also her here and now. Even in the safety of her own home and room (I always pictured that conversation as in their bedroom?) she is acutely aware that she will never return to where she grew up, that the place of her and her people in the world has been irrevocably changed. She is contemplating this ordeal being repeated and likely becoming more convinced that it will be. The sheer exhaustion alone of having to reckon with that…

I don’t think the parallels between Morwen and Túrin with regard to fleeing and being hunted or trapped and the ways these and the fear of them shape their lives are discussed enough

A lot of Túrin’s story is about exile. He is forced to flee his home and spends most of the story away from it, deprived of news of his loved ones and people for years at a time. When he does return it is temporary and he finds it unrecognizable.

Even his memories of home, of any home he makes, are clouded.

But his home is not Morwen’s, at least not in the same way. What he loses in Dor-lómin, Morwen has lost more than a decade before the events of the Narn.

Morwen escapes Glaurung twice and ends up in Brethil both times afterwards. Like not to put too fine a point on it but she has always been running and trying to escape the horrors of the past and also she lives in fear, a very real fear, of being forced out, forced to run, or else trapped and imprisoned. When she fears Thingol means to keep her in Doriath against her will, she tells him this fear is part of what made her delay going and I don’t think she is exaggerating in the slightest.

I am just never not obsessed with the themes of diaspora, exile, and persecution in The Children of Húrin.

Anyways I hope this is coherent and all. Hopefully I’ll say something more meaningful on this later. I love Morwen very much.

*as the year of her birth is from The Shaping of Middle Earth it is not considered strictly canon however it does match up with other timelines and events.

[vaguely-concerned]

My two cents on how much of Mind!Varric is Rook’s mind trying to fill the blank space and how much is Solas actively talking through a convenient blood magic paper doll of the mind: I think it's a mix of both, a truly collaborative psychosocial horrorshow if you would, but waaaay more towards the second. It feels too directed and tactical at times to be anything else. Rook's mind is willing to go along with the denial phase as far as it can fucking carry them to not have to face the grief and regret and does its part in papering over details that don’t make any sense, the way brains will strive to create coherent meaning even out of deeply confusing input, but to my understanding it's a collaborateur in how that plays out, not the instigator or control center. Solas is using it as a path to agency and to gather insight into Rook as a person unguarded as he can't count on in his own guise. (That stoic option that leads to him being like 'oh I see you're cautiously denying me access to your inner life. well. at least you still have Varric to talk to. y'know as an outlet :)'. You absolute BITCH Solas! That alone convinced me that he HAS to have an active hand in it on some level.)

My guess is that it takes considerable effort on Solas’ part to make Mind!Varric do anything more involved or complicated than seeming to sit up in bed and give casual commentary, and that’s why he keeps having eerie five minute shallow pep talks with you before he announces he conveniently needs a nap aaanyway good luck kid you got this haha. When he’s just spouting NPC lines from his bedrest, I’m ready to believe that could be Rook’s mind being allowed to improv lines for him more freely because it’s less about Solas trying to get something out of them or working an angle and more ‘Still here! Still totally alive and fine and the mentor figure you know and love and trust :) don’t even worry about it! Thankfully there is no war in Ba Sing Sei, as we all know’ upkeep work lol. Rook’s mind is allowed to set the tone of Varric, the outlines, but not always the content. 

AND, on a (beautifully fucked up) character psychology level, I feel like Solas is indulging in actually getting to be the good supportive mentor figure to Rook with one hand to assuage the guilt he feels about what he's done -- and what he's going to do -- to them with the other. Same internal logic as he uses in Trespasser about the Qun. ‘Almost everyone is going to die from the course of action I’m doggedly pursuing eventually. But at least I can make their last years happier and freer and kinder than they would have been otherwise. and that kind of makes up for it right. a little bit. doesn't it. doesn't that make it better at least. I need that to make it better)'. Did I really take your beloved mentor and friend from you if you don’t know yet that I did? Some philosophers would argue not really! So it’s probably almost ok actually. Isn’t it even a little noble that I’m taking all this grief and guilt on myself and shielding you for now. With undertones that I’m not sure he would realize himself (and might be mortified by if he did) that he is so incredibly lonely, and even a dishonest and indirect emotional connection is more than nothing when you’re that desperate. In this setup he gets idk. Both the control he craves so incredibly badly in relationships and over himself, and the scraps, the fading afterimages, of intimacy and warmth and companionship, even second hand. The one thing Solas and Rook agree on deep deep down is that they really wish Varric weren't gone. They're handshake memeing this in the saddest and most creepy way possible.

I think an important element too is that Solas needs Rook and their team to *succeed* —  up to a certain point. He needs someone to hold the two other elven mean girls off until he can get out of here. Ideally, in a perfect world, even do all the hard work of killing them so he can swoop in at the end and do his thing when both sides are exhausted and out of resources to stop him, and then Bob’s your uncle! Same logic as he was using with Corypheus, and after that worked out so well, too! King of choosing to never learn from a single solitary mistake he’s ever made even though i fully believe he could have the capacity to Fen’Harel <3 The underlying idea isn’t flawed, you see, it was just unforeseen circumstances getting in the way. This time for sure it’ll all work out the way I cleverly imagined it in my head beforehand. Cue By Talos this can’t be happening etc. in the form of a statue almost crushing him like a bug. 

So he's providing guidance and forging Rook into a leader from two angles: one Rook might not trust, and one they probably will. Shaping them into what he needs slowly and carefully. He’s helping you hone your team into their most effective state, as he might have done with his own agents back in the day, setting up his chess pieces even if he has to squint through two glimpsed realities to do it haha. Pincer maneuver of an insidious stealth mentor you never asked for. Also… at one point mind Varric gives you a whole little monologue about how Solas' problem is that he’s always seen his interpersonal connections as flaws and see where it’s landed him, all alone and the worst part? it hasn’t even worked. it’s all been for nothing he’s back where he began with nothing to show for it but his mistakes. Like...that has such strong 'uh okay happy to play your therapist from two rooms away here what the fuck kind of traumadump is this' energy to me, I’m not sure Rook like. Thinks that much about Solas as a private person. So much of Solas' self-loathing and futile insights into his own flaws seem to shine through in Mind!Varric's dialogue all the time — I just can't believe that there's no guiding hand behind it as it were. 

Most of all. I feel like people underestimate the degree to which Solas is incredibly funny. As in, he has a very consistent and recognizable sense of humour. It’s one of my very favourite things about him. We must remember — it is crucial that we always keep in mind — Orlesian accent and wig Solas from May The Dread Wolf Take You (my beloved, the explanation for why I love this dude even with the. All of the everything else. No one does it quite like him). He is not at all above doing things or adding little flourishes for his own obscure amusement, in fact that seems to me to be one of his most consistent traits. The Randy Dowager Quarterly comment Varric has? The ‘Maybe this is the Dread Wolf’s revenge. Forcing us to house sit for him’ thing? To Me this is 100% Solas amusing himself in his boring Fade jail surrounded by the screaming hellscape of all his regrets. Source: it came to me as divine revelation through pure vibes trust me bro 

If nothing else I find it much more narratively interesting personally if the connection between Rook and Solas really is that defenselessly intimate and entwined (and so unbalanced!), and the sense of violation and invasion and betrayal afterwards consequently all the more nauseatingly intense. Even if you kept him at arm’s length in the open, he’s been under your skin the whole time, looking around, gathering what he needs to destroy you, wearing the face of a friend. Regretfully, probably, but choosing to do it every step of the way anyway. (Sound familiar, Inquisitor? Solas doesn’t have that many tricks when you actually look at it, he keeps returning to old tried and true ones like a dog with a bone haha.) Maybe he even genuinely meant some of it as mercy, which only makes it so much worse. It makes his sin against his own core principles of autonomy and the freedom of all beings in mind, spirit and body so much more juicily grave if it’s something he pursues actively and consistently, rather than it half-falling into his lap as a happy accident mainly orchestrated by Rook’s own subconscious. Solas, too, is at his very lowest point, the closest to giving in and becoming his own antithesis fully that he’s ever been, and it makes the choice of whether you still reach out your hand to him one last time or not all the more impactful and difficult.

[idliketobeatree]

i just know for a fact that charles has a tragic, chronic giggler disease in bed. like, yes of course, crying during sex beautiful and true, but have we ever considered him smiling so widely that they literally cannot proceed with anything, because edwin keeps asking him "what made you laugh this time? what is so hilarious?", and charles needs to duck his head because how can he explain that he's incandescently happy and it's not going away. "sorry we can't kiss, i can't control my joy long enough to relax my mouth. oops." and he's like "okay, okay, i got this, for reals this time"; it takes edwin palming both of his cheeks to pull charles in and charles just. grins. again. teeth clinking in the middle. he would be mortified if this was anyone else or if edwin decided that's enough and maybe we should play cluedo instead.

he's doing neither, because edwin's a good person like that. he finds a way to tickle him along the sides so that charles has a reason to have a chuckling fit at least.

and it must have been a complete shock to edwin too. if he dared to imagine it at all, he never would've guessed intimate relations could be so... freeing. that you can laugh yourself to tears and still keep going, that your lover can have such a wonderful time exploring everything unknown about you that he's glowing inside and out. from what he's gathered, sex is supposed to bring a certain level of seriousness and it's like, the exact opposite with charles— frankly, it's just more of charles, everything about him distilled and intensified, his normally warming smiles are blinding now, the way his limbs move thrice as graceful as when he's on a case. you know edwin has a list of favourite charles sounds, and somewhere near the top lands the breathy, unabashedly happy huff which morphs into a quiet moan by the end. he loves it. he'd be lacking without it. edwin is the luckiest ghost on earth, it seems.

[outofangband]

If Aerin dies it’s extremely upsetting to me but To be fair we do not know if Aerin dies! Whether she was in the house or not is ambiguous and in Christopher Tolkien’s notes in the book of lost tales version, when he compares Aerin’s story in BoLT to hers in the Narn he says only that she burns the house in the Narn version, not that she dies. As Aerin explicitly survives in a position of leadership in the BoLT version, I always assumed that if Tolkien meant her to die in the Narn, this difference would be noted 

“The story of Airin’s judgment on these doings made in order to save Túrin was afterwards removed and Túrin’s solitary departure was expanded, with the addition also of the firing of Brodda’s hall by Aerin”

(Not trying to start an argument or anything just sort of musing

[angrybubbles]

I think one of my favorite parts of Devil's Minion is that their flaws really suit each other to a degree.

Daniel is harshly blunt. He speaks deliberately and without any fanfare, and you know exactly what he means as he says it. Even when he's insulting you, and especially when he's angry, his bluntness is front-and-center. This is probably why he's been divorced twice, because this kind of behavior is cute and refreshing at first, until he starts laying out the problems with you.

Armand needs that kind of bold speech. That man could overthink himself out of how to tie shoelaces on a bad day, and part of his difficulty with Louis in the show is insecurity and doubt. With Daniel, he knows exactly where he stands, which is probably why he would take some of Daniel's worst moments as truth. Armand has the consciousness to know he's capable of some heinous shit, and doesn't really take part in guilt on it too much, so he's uniquely suited to handling insults being thrown at him.

And Armand is all about subtly. He'll lie and soothe; talk around something or simply avoid it physically. Not to mention the hall of mirrors that exists in his mind and memories. He masks to suit what is expected of him in order to fit a role, but it is just a mask, so it doesn't feel genuine to those looking for a deep connection. And it's up to his perception of reality to figure out which mask he needs.

Which Daniel, solver of puzzles and professional snoop, is never going to be bored with it. What is Armand doing today? Why is he acting this way? The process of finding out is how Daniel makes emotional connections, and every day or week with Armand would be a new task. The truth of Armand is a process of collaborative discovery, and Daniel not only thrives on challenge, but also on mystery.

Idk, I just think it's neat. Obviously they still step on each other's toes, and the growing pains are uh, flammatory, but they still are uniquely suited to handling bad days with each other, as long as they aren't having a bad day on the same day (cue horrible fight and another chase across the globe because they love each other anyway)

[asha-mage]

Because I am coping with current world events in a completely normal manner I've been thinking a lot about how one of the tensions that underpins the whole of Wheel of Time is Robert Jordan as 'person who likes history' vs Robert Jordan as 'person who had to live through the Cold War.'

Something that can be really hard for people born after the Cold War (like myself) to grasp is that for a long time history was the ultimate reassurance against existential dread. Civilizations could rise and fall, empires could crumble, disasters could wipe out a hell of a lot of people, but human beings as a species, where never in any real danger of dying out. New countries would eventually rise out of the ashes of old ones, societies would change to be unrecognizable but they would still be there, religions, cultures ideologies etc might all die out but the people would still be around. History provided the ultimate comfort: whatever happened in our brief finite lives human beings as an group would eventually be fine.

But that changed after World War 2 and the invention of a little something called the atomic bomb. Suddenly human beings had the potential to destroy not just ourselves but all life on earth if things went wrong enough. For the first time in history their was no real guarantee that human beings as a species would make it, and in fact their was a whole lot of reason to believe based on the patterns of history that eventually that power would get used and human kind would destroy itself. That was the Cold War- two nuclear states who really really wanted to start blasting each other to pieces but couldn't without risking the end of life as we know it.

The tension between these two realities- the assurance of history that life will go on and the reality that human beings could in theory actually end the fucking world, is built into the core of Wheel of Time. The first lines assure us: time is cyclical. It's all happened before. It's all going to happen again. Human being will live out the same stories in endless variation, the same patterns will always reemerge. And the world has already survived one apocalyptic event: the Breaking, and come out the other side not doing fantastically, but still around. The world has been reshaped forever and whole eras of progress have been undone, but humanity remains.

But at the same time doomsday weapons with the potential to wipe out the species are everywhere. The Choden Kal can crack the planet open like an egg. Balefire burns apart time itself. A plague of madness is waiting for any old schmo to wander into it's den and carry it back outside so it can infect and destroy everyone. Their are all kinds of different big glowing red 'destroy humanity' buttons laying around in WoT just begging to get pressed. And in a way the Dark One is the ultimate version of that because that button has already been pressed. The Bore has been opened. Left alone humanity is fucked and everyone knows it. It can be delayed and pushed back, but never truly stopped, except by the intervention of destiny- the intervention of the Dragon. That's the core conflict of the series. Rand is struggling to stop a missile that's already been launched, prevent an end everyone can see coming. It's not just 'I need to defeat the big bad evil overlord or everything will be bad forever', it's 'I need to stop the Dark One or that's the end of human beings as an idea'.

What's especially interesting is that Jordan isn't even framing the Wheel/Pattern as uniformly good, because it's history and history is messy and complicated and full of contradictions and no easy answers. The Wheel, the Pattern, is not some force for righteousness. It's a neutral fact of existence. Not what's best or what's ideal- those are subjective and grounded in human understanding of the world- but what's necessary and what's true. To want to break free from history, to break the Wheel, is to want to break free of being human. That's what the Forsaken all truly want (as I have talked about before): to leave behind their humanity, and their willing to sacrifice whatever it takes to do it. What that looks like and what motivates that desire is different for each of them but their united in that common goal, and they all either disregard the consequences of what it will mean or don't understand them.

The story of history is one of incredible suffering and amazing triumph: it's full of heartache and joy in equal measure. It's not fair or just or simple to understand, but it is a reflection of who we all are collectively. The fight to preserve the Wheel isn't a fight to preserve what is good or ideal, it is a fight to preserve what is human. Because as long as the story can keep going, we can have hope for tomorrow.

And Jordan promises right from the offing that their will always be a tomorrow. No beginnings. No endings. Just whatever comes next.

As we enter a period of history that is the most uncertain it's ever been in my lifetime, I can't help but I think of the incredible courage and strength it must have taken be staring down the barrel of nuclear armageddon and stubbornly insist that there would be a tomorrow. The man wrote eleven of the best books ever made exploring this exact struggle- about never giving in to despair or pain, never buying into the belief that things are hopeless, that humanity sucks and we're all doomed.

And remembering that...I don't know. It makes a little easier to breath and keep walking towards tomorrow myself.

[keptinshorthand]

I hate that despite Jonathan’s journal being of upmost importance for the plot, must often than not it loses its relevance on adaptations, either by being completely overlooked or just being used as a reference without giving it proper use for the narrative.

I think that giving the journal the same consideration it receives on the novel not only would help the narrative as plot device, but could also be used to enhance the tension that exists in the castle Dracula section of the story: by showing Jonathan’s fear of the journal being discovered and destroyed and the lengths he is willing to go in order to keep it safe from Dracula.