#the lore of the rings

[charlidos]

THE CHRONICLES OF THE CUNTYBAGO

I love the lore of the Fellowship, I can't get enough of it. And it's really turned into a kind of myth, hasn't it? The stories have been established, from being told again and again. Regardless if it's not the whole truth, or even not true at all. The lore has a life of its own. And it changes, depedning on who's talking, and over time.

The lore of the (inappropriately named) Cuntybago is a favourite; that famed make-up trailer bus where Orlando spent so much time with Viggo (hours and hours for years and years if you listen to Orlando) absorbing everything Viggo did.

So here's the Ultimate (very long) Cuntybago Post.

The Cuntybago is apparently where all the after-work parties happened. Most of what actually happened on it is still secret, private events not to be shared; after hours, after some wine/whisky drinking. What kind of special stuff was in the drawers? What did they really smoke? And, most intriguingly, who exactly was left onboard when everyone were ordered to get out... (Erm, V&O, perhaps?)I'm sure there are many more photos from the bus. Like a photo of Viggo & Orlando - which has yet to be seen. Oh, to have been a fly on that wall!

(A clip from the last day of the reshoots, in 2003. Because it's the time the bus has been talked about the most. Even if I'm unsure if this is the actual Cuntybago or not. Since it doesn't look green...)

Mortensen and Orlando Bloom spent much of their off-time on a green bus they named the "Cunty-Bago." Instead of the standard luxury lodging demanded by most stars on set, Viggo and co-star Orlando Bloom shared a converted bus while filming Rings. Viggo stocked the bus with a wine cellar and wallpapered the inside with candid behind-the-scenes photos. A source on the set said the bus was the site of frequent cast parties, with the motto, "Everyone is welcome, but when it's time to go, get out!" Indeed, they formed a club — The Cunty-Bago Club. [Viggo, Sean and Orlando] shared a make-up Winnebago, and through hours of beard and pointy-ear application formulated the rules of their society — most of which boil down to getting gossip and posting it on. [on what? I think the text is cut?]

There are very few quotes from Viggo. If you read his old interviews about life on set it sounds like he mostly worked 6 days a week, 14 hours a day. And in his free time, he went camping and fishing by himself and just drove around to get some me-time. That's it. It all sounds like mostly work and no play for Viggo. Cementing this image of him being ever serene, wise and a hard working method actor who never stopped being Aragorn. But then, we have the stories of this bus, which shows his wilder side...

(Viggo in ponytails, with a glass of wine and banana, in front of that mirror covered in photographs. They both took a lot of photos on set, so I guess a bunch of those photos are Orlando's.)

All Viggo's said is this:

"It was a crazy small bus." "Everything had cunt. It was 'cunt this' and 'cunt that'. We had a cuntmas tree, and we had cuntmas angels."

(Orlando on the makeup bus. )

Orlando has mostly mentioned the bus in passing, as he loves on Viggo, his great hero. And in his words, it always sounds like it was just the two of them... (when in fact it was from time to time also shared with Sean B, Bernard and Liv - but only Viggo & Orlando were there the whole time).

[Me and Viggo would] sit next to each other for a couple or hours each morning in a make-up truck. You get to know someone that way, more than by being in scenes with them. I used to sit next to him on the make-up bus, and find myself just staring at him while he was having his make-up done and drawing in his book or writing his notes. I would find myself fascinated. When I went back for re-shoots, I was on my own and he wasn't sitting there, and I suddenly was sitting in the makeup bus that we'd been driving around in for 18 months in New Zealand and got really emotional and felt that it was kind of weird to be there without him there and sort of reflected on all of the happy conversations and chats and glasses of wine and talks that we would have at the end of the day or whatever. He really had a huge impact on my life as an actor.

But he did say a few specific things too:

"Ahhh yes, the bus. It was mine, all mine. It was my precious." Bloom christened the bus the "C-word" when the makeup artist was fuming about someone and asked Bloom's advice. "You should kick him in the cunt and tell him to fuck off!" Viggo just lost it for half an hour. He kept saying, 'What did you say?' [The bus] became all about "the word. We took that word and took all of its power away. We made it the most loving word in the world. If you were a true cunt, you were the most amazing person in the world. It was a very free-spirited bus. It came about because me and Viggo kept being moved around, and we ended up on this bus one day. And the actors were fed up and we said, "This is it. This is our home and we are not moving. If they come, tell them to go away."

And finally from Orlando's IG in 2019 (obviously, to this day, a very important part of his life):

Our fondly named makeup bus, christened by Noreen my makeup artist and Viggo Mortensen, was, and remains in my heart and memory the most female and male empowered, joyful, disreputable and yet totally respectful place of work and creativity ever. Hours spent in the the makeup chair to apply ear’s and wigs and contacts." (They can't even agree who named it, Noreen never got any credit back then...)

(From the reshoots in 2003, Viggo gives Orlando some love and points out the photo message from Orlando on the mirror. But I want to know, who put up the pic of O with Brad Pitt? From this clip.)

The comments from everyone else in the cast about life on the Cuntybago are actually more enlightening. The rowdy gang reveal another side of life on set and of Viggo: as a drinking, partying prankster who loves crude language. It's definitely part of the fascination with Viggo. He's never one to talk about these things himself.

(I think they're wearing the special cuntebago t-shirts here. No idea from whence.)

Bernard Hill:

You are not supposed to know about it!" "There were five or six of us - Viggo, Orlando and Sean [Bean]. Liv came in and out [of the group]. Viggo has this special kind of crudeness that he is capable of. We were in the same make up bus [along with Bloom]. When I came back [from a break] it was called the Cuntybago. It was our private club. We had wine tasting sessions and had lots of parties. We also kept lots of food in there. Anything that was out [on the table], you could have. You could drink it, eat it, borrow it, smoke it… but don´t go looking in any drawers. That´s where we kept our 'special stuff'! [The Cuntybago bar would on occasion open very early] like 6:30am. There were days that we needed it. [I've made life-long friends with] everybody who was in the Cuntybago. Leaving the first time was such a huge wrench. Especially because of the Cuntybago, it was like our club. Fortunately we managed to get it back for Return of the king reshoots, so ROTK was the Return of the Cuntybago. We actually drove it out onto the streets for Viggo’s farewell. Viggo didn’t know we were going to do it, and when it started moving, you should have seen his face. I kept shouting, “Cunty libre! Cunty libre!” And the bus start leaving—we were breaking free. For propriety’s sake it was called the C-Bago Club, because you couldn’t put Cunty on the call sheet. Sean Bean came in, Liv was also a part of it. As soon as I get back to England I’m going to start the C-Bago web site: Orlando will do fashion and Viggo will do current affairs. I’ll probably do gossip — you know, the social calendar. Liv will do Hollywood and Sean Bean will do the art of war. It’ll be our little corner of the world.

(Bernard & Orlando Bloom getting make-up done. Here's the green bus again.)

Elijah:

Cuntybago is an amalgamation of 'Winnebago' and Viggo Mortensen´s cuss word of choice. I've gained an appreciation of the word cunt. Negative words - the best thing is to diffuse them by using and taking the meaning away. Cunt! Cunt! It's a great, great word. Very forceful. [Viggo] became utterly fascinated with it and it became the word of the film. Their Winnebago for makeup was called the Cuntybago. I was not a part of the Cuntybago unfortunately - it was the makeup room of Orlando, Viggo and Sean Bean - but it was a lovely place to visit. Cuntybago T-shirts were made up. There was a Cunty Christmas and we had a Cunty Christmas tree, all this stuff. Cate Blanchett [who plays the elf queen Galadriel] was deemed Her Cuntliness. I think we were all secretly jealous of the Cuntybago. I was anyway. I loved the atmosphere. Any place that had Viggo in the centre was always an interesting place to be… And that was where all the alcohol was. It was just spending all of that time with brits and Aussies. The word ‘Cunt’ came up quite a lot. I was fascinated by that and how it could become not so dirty. It’s one of the few swear words that still shock people." Is that why you called Cate Blanchett “Her Cuntliness? “Not my creation. She was called that by Viggo Mortensen. I put the blame on him. It was used during the making of the movie and seems a bit silly now. Wood says that his Cuntybago T-shirt is home in a drawer. "It's too big for me. I'm a small guy."

(A few photos up on the mirror in front of Viggo. I'm guessing it's Henry on the toilet (aww!), and Viggo and Orlando doing something something... Sharing a cigarette? Extinguishing a cigarette on Viggo's tongue? It looks kind of erotic. And who's the other dude?)

Billy:

"On Lord of the rings we'd go to Viggo and Orlando's trailer which was called The Cuntybago. Viggo was good for getting Irish whiskey, which was great but I keep trying to educate him on malt whisky. (To Billy it was just V&O's trailer. Like it's where they lived together...) Hobbits, an elf, a King of Men, maybe a dwarf. And quite a few times a wizard, sometimes a princess. Ha ha! That's enough to make anyone feel pissed. We had some good times on that one, some great times."

Peter Jackson:

"The actors had a spiritual connection to it. I liked the way they had photographs [Mortensen and Bloom] taken behind-the-scenes, plastered all over the walls."

(From the reshoots, I think. Beautifully blurry.)

Liv Tyler:

I can't believe he [Mortensen] talked about that. That was our private world. There was a lot of liquor on that bus. But the funniest thing about this bus is that this thing was a beast. It was so tiny; nothing worked. If they ever washed our hair it would go from scalding hot to freezing cold. There was no heat. Our makeup trailer became the center of things. It was given a really bad name that I cannot repeat. There were pranks, most of them also too dirty to tell. I love them all, all my costars. We would hang out mostly in the hair-and-makeup trailer, and after work at dinner. We would eat all the time and drink wine and laugh.  I think that a lot of that was the friendships that we made with each other and the fact that we all needed each other. It was vital that we all had each other to survive and to be able to laugh. Everybody had a really good sense of humor, thank God. We'd be constantly making jokes and decorating the trailer with ridiculous things and being rude and that was our sort of little bubble of escape in our makeup trailer.

(Photo by Liv, in the bus. You can see all the polaroids and stuff behind the unicorn elf.)

Cate Blanchett:

Viggo is the funkiest person I've ever met. I am far too polite to . . . he had this thing he called "the cunty-bago" . . . no, I guess I shouldn't go into that. So, yeah, he's incredible, very funny.

So, I can't quite figure out which bus The Cuntybago actually is: the green one Orlando is seen exiting? Or the yellow-ish one seen in the vids from the reshoots? Because they aren't the same. And in the vid from the final day, Bernard says the bus he drove on that last day was the same they'd had "for years" and which never moved before. While Orlando said they drove The Cuntybago around "for 18 months". So which bus was it? And did they drive the bus around or not? Or was it stationary? It's a mystery.

(This is the green bus - but is it the make-up trailer? Same as in the vid with Bernard.)

(Here in the reshoots, the bus is yellow-ish? And completely different. Looks more like a Winnebago than the green one really... So which one is The Cuntybago?)

ETA: it's the green striped one! Here's it's on the Cuntybago shirt:

That's all I have found about this infamous, mythical place, where all the magic happened, as they say. If anyone has info to add, please do! I want this post to be comprehensive!

[no-thanks-kindly-fuck-off]

Rings of power spoilers ahead

I just... maybe I didn't get the whole thing

Maybe I got it wrong? Idk

And I get that its poetic and all, that in the need to hunt sauron galadriel ended up saving him.

But ur telling me that if she didn't jump out of the boat. If she accepted her "fate" and went to her little elven heaven place thingie, sauron would've just died?

Would he have drowned? Or stayed stranded at sea???

Thats just so increadibly lame

Just, the big sauron guy would've just drowned if a girlboss elf didn't want to hunt him down?

Anyways, I'm not one of the shippers I'm sorry I see where yall r coming from but just... I don't feel particularly strong about it.

[chaotic-nart]

“Marika bathed the village of her home in gold, knowing full well that there was no one left to heal”

I got to Shaman Village last night 😬💔

[sweetmapple]

drew this so fast, Mohg-posting is no longer illegal. Long live Mohgwyn and his fruitiest surgeon

[drenched-in-sunlight]

i love the DLC man

[monochrome-genesis]

‘Golden One, who earned your wrath?’

[cellyjubes]

Just got to him in the dlc i’m so in love with him… characters with snake motif my beloved

[ganondoodle]

discarded.

(Leonard, Lacrima, Elden Ring)

[mac-tirs]

the usage of different types of english in elden ring

most human/tarnished NPCs we meet, like rogier, ansbach, and nepheli, use late modern english:

"a sorcerer, as you might have guessed. i'm looking for a little something, here in the castle. when i'm not hotfooting it from the troops, that is." - rogier, first meeting "general radahn. a pleasure to see you, after all this time. but those remains do not belong to you." - ansbach, upon summon for PCR

but older demigods like messmer, ranni, and morgott use early modern english:

"thou'rt tarnished, it seemeth. mother, wouldst thou truly lordship sanction, in one so bereft of light? yet… my purpose standeth unchanged." - messmer, pre-battle cutscene "thou needst not indulge them unduly, but they too wish to appraise thy worth. it hath been a passing long time since a newcomer entered my service, after all." - ranni, after agreeing to serve her

then there are the younger demigods, like miquella, malenia, and potentially melina, who use a later variant of modern english, similar to the tarnished NPCs we speak to:

"if we honour our part of the vow, promise me you'll be my consort. i'll make the world a gentler place." - miquella, post-PCR cutscene "the scarlet bloom flowers once more. you will witness true horror. now, rot!" - malenia, phase 2 transition cutscene

finally, the hornsent NPCs like the hornsent, hornsent grandam, and the hornsent spirits such as the one outside the whipping hut, who use late middle english similar to the english found in shakespeare's sonnets:

"fie, another? ... then, as that woman would surely say, we are in our purposes well aligned. but understand. your kind are not forgiven. the erdtree is my people's enemy. by marika long betray'd, set aflame." - hornsent, first meeting "all your resentment lingers yet... the raw stuff from which i shall surely forge a curse. upon the dastard messmer's head. upon marika's children each and all." - scorched ruins hornsent spirit

i find it interesting how different the usage of english is in the game, and i feel that it can be a hint on how to properly date an individual's occupation in the lands between/land of shadow. the hornsent, being a people much older than many in the lands between, use the most archaic version of english, while the tarnished and younger demigods use a form of english more closely related to our own in the current period. older demigods (and marika herself, as heard from melina's recounts of marika's spoken echoes) use a form of english more closely related to the period of transition from middle english to early modern english.

additionally, another interesting thing to me: mohg is almost certainly nearly the same age as morgott (since they're referred to as twins), yet he speaks a little differently compared to morgott:

"tarnished, thou'rt but a fool." - morgott, post-battle dialogue "dearest miquella. you must abide alone a while." - mohg, pre-battle cutscene

this makes me wonder if it's possible that, assuming that miquella's verbiage is indicative of his younger age in comparison to the older demigods (aka the demigods born before the marika/radagon union), miquella's charm altered mohg's perception enough to also alter his manner of speaking and carrying himself in some way. if his pursuit of finery (dressing in embroidered robes and handling himself with poise, juxtaposing his bestial growls and strength) was mainly done in an effort to fit into miquella's ideal of a consort. of course, mohg could just be as vain as he seems to be all on his own accord, but i find that it's interesting to entertain the idea that even his current state of being was due to miquella's charm.

i'd love to hear what others think about this. i'm not very learned when it comes to english (it's not really my first language), but i find this all very cool to think about.

[katabay]

ONCE UPON A TIME, THERE WAS A KNIGHT...

the visual inspiration for this was a combination of Frederic William Burton's Meeting on the Turret Stairs and also Bernardo Cavallino's The vision of St. Dominic receiving the Rosary from the Virgin

this was supposed to be just a one off illustration to get the thoughts out of my system, but then I started thinking about medieval politics and warfare and plagues and a castle and home as both a place of refuge, a prison, and a tomb, so perhaps they will end up as ex voto characters as well.

you may say, hey! that rosary looks like it has too many beads! it's a fifteen decade rosary, probably. dominicans are really into marian devotions. it works out.

also. spiral style stair cases. oh boy. it was that unexpectedly more difficult than I originally thought it would be to draw. the more I think about it, the less I understand them, even though I had a million photos of the stairs in front of me while I was drawing it.

⭐ I have a tip jar (ko-fi)!

⭐ and other places I’m at! bsky / pixiv / pillowfort /cohost / cara.app

[slavonicrhapsody]

WHO IS THIS SAULTRY LITTLE BINCH

ok this is my extremely unpolished breakdown of MESSMER THE IMPALER from the shadow of the erdtree trailer

The first thing that stands out about this dude is that he’s wearing EVERY possible symbol of treason against the Erdtree: SNAKES and FLAME

Messmer has snakes on his sigil, helm, and 2 snake friends who have dragon wings. Volcano Manor is known for its statues of winged serpents, but the wings are feathered, not dragonlike. these snakes are bright red-orange and are very unlike the Great Serpent we all know and love, who has a heavier build and is blue-grey in color. 

Regarding snakes as symbolism, the Duelist Helm description reads,

“Bronze helm decorated with innumerable snakes. Worn by gladiators who were driven from the colosseum. The wearer becomes a slightly easier target for foes. The snake is viewed as a traitor to the Erdtree, and the audience delighted in seeing these bronze effigies beaten and battered.”

We can bet that whoever is associating themselves with snakes is a confirmed Erdtree hater (Rykard, hello!!!) or perhaps, this dude could even be part of the reason why snakes are considered traitorous in the first place?

In addition to us seeing Messmer wield fire, this line from the trailer (which I think is spoken about Messmer but not by Messmer) implies that he’s known for his fire: “Those stripped of the Grace of Gold shall all meet death. In the embrace of Messmer’s flame.” 

It’s well known that flame is in many ways a taboo power; particularly the flame of the Fell God, which has the power to burn the Erdtree (the cardinal sin). Messmer’s fire is weird, in some ways it reminds me of the Rune of Death since it starts out black and turns red, but it’s also far too orange to simply be the Rune of Death’s power. 

There’s also this description of the DLC: “The Land of Shadow. A place obscured by the Erdtree. Where the goddess Marika first set foot. A land purged in an unsung battle. Set ablaze by Messmer’s flame.”

I’d guess that the Land of Shadow was the place of Marika’s first conquest, and perhaps Messmer either aided her in razing it or that’s just something he did later? 

so WHO is this dude????

for starters, his name is Messmer the Impaler — M like Marika! Melina, Malenia, Miquella, Mogh, and Morgott. seems to be a pattern...

He says in the trailer, “Mother, wouldst thou truly Lordship sanction, in one so bereft of light?” 

Whoever Messmer’s mother is, she is in a position to “sanction lordship” meaning to give official permission for a lordship to take place. that screams Marika — she is THE goddess, and is responsible for guiding Tarnished to becoming Elden Lord. I can’t think of anyone else who might be called Mother who is in such a position as to allow someone to ascend to the position of Lord. He's also sitting in the same type of throne that the demigods sat in that we see in Morgott's cutscene.

theres 2 ways to interpret this line: 

Messmer could referring to himself when he says this; as if he’s saying, would my mother truly allow me to become Lord even though I’m so dark and edgy?? in a kind of sarcastic way. the flames he produces start out black, and he’s covered himself symbols treasonous to the Erdtree. OR, he’s referring to us, the Tarnished, when he says this; as if he’s saying, would you really let a person with such little light inside them become lord, mother?? (rude!) I’d say we need more context to determine exactly what he means

ALSO, interestingly, his left eye is sealed shut… you know who else has their left eye sealed shut? THAT’S RIGHT… OUR FRIENDS MELINA AND RANNI

The scarseal and soreseal items of Marika and Radagon are also carved into eyeballs… could eye trauma be an empyrean trait?? could Messmer also be an empyrean, one who the current demigods didn’t know the existence of??? 

with all that being said, I really doubt that this guy is Rykard or Rykard’s child as I’ve seen some people speculate… these other clues in the trailer point towards him being another, separate demigod. so what do we make of all the similar imagery?? I think that Messmer might be working against the Erdtree toward his own ends, and he’s embracing similar powers that Rykard did when he turned traitor. 

who is he then? I think he’s a demigod child of Marika, and possibly of Radagon because of the hair (unless his hair color comes elsewhere? a curse?). I think he got banished to the shadow realm for treason reasons, given the heretical symbols. perhaps he was an empyrean with his own agenda who was disposed of by Marika, like the Gloam Eyed Queen? perhaps he has ambitions to return to the real world and become Lord, destroying the Tarnished who might take his throne?

I did this instead of sleeping I hope you’re all happy

[avatarobi]

When Thorin gave Bilbo the Mithril chainmail shirt, he said it was made for an Elven prince.

The only Elven prince that was born in any of the 4 Elven realms since the founding of Erebor is Legolas.

Frodo is wearing Legolas's baby clothes in LOTR.

[therealmairon]

this has me in tears yall 😭

[natdafat]

So, since melina is a demigod, she must have a curse like all the others. So I throw this into the ring

[l4mplight]

Miquella and Trina; A Tragedy

Hey Tumblr. I have a lot of thoughts about Shadow of the Erdtree, and these ones... let's just say I don't think they'd do well on Reddit. It's not often that I feel particularly impacted by a particular fictional character. Usually I connect more with narrative arcs and themes, which is why I think I'm so drawn to the ephemeral, vibes based storytelling of Fromsoft's games. Playing through SOTE, though, I found Miquella (and St Trina) to be extremely emotionally compelling and relatable, and I wasn't sure exactly why. I think I've put my finger on it now though. First of all, know that I am writing from the perspective that Miquella is a sympathetic character. I know that it's not uncommon to read him as a manipulative Machiavellian villain, but I think that's both a misreading of the text as well as just plain boring. Like, he's not a Griffith clone you guys, give From some credit. Anyway, here we go.

"You have no understanding. Of Miquella the Kind. Of St. Trina's Love.

Content Warning: I'll be discussing themes of depression, and the implication of suicidal ideation.

So, a classic Fromsoftware theme is despair, and the ways we cope with a world full of it. It shows up twice in Shadow of the Erdtree; with Midra and the Frenzied Flame, where despair leads to a selfish nihilism that asks us to burn everything down, and with Thiollier and St Trina, who offer sleep as a comfort to the weary. Running a small errand for Thiollier has him say the following.

"If you find yourself… weary of the weight of this life, then just give me the word. Sleep is a balm, and eternal sleep… is an elixir."

Drinking the elixir he offers will, of course, result in an instant death. This is our first encounter with the idea of "Eternal Sleep," a more potent form of the sleep status effect that only appears here in the Shadowlands, after St Trina has been abandoned. The Velvet Sword of St. Trina tells us as much: "Silver sword of St. Trina, now stained the color of velvet. Inflicts eternal sleep. When St. Trina was abandoned, the faint, light-purple mists coalesced into an intoxicating deep-purple cloud." In order to ascend to godhood, Miquella abandons first his physical body, and then the more abstract aspects of himself. As we begin to descend down the fissure where we'll find Trina, a cross marks the spot as the place where Miquella abandoned his love. This connects Trina, "the discarded half" as Thiollier puts it, with Miquella's love. Leda confirms this in her own dialogue:

"St. Trina's love for Kind Miquella is boundless. She is, after all, his other half. Or perhaps her feelings go beyond even that. Even if she was left behind, I doubt her heart would waver."

Keep that in mind, it'll be relevant later.

Near the cross, a spirit offers up some of the most heartbreaking dialogue I've come across so far. The spirit gives us a bigger picture of Miquella's goals:

"Kindly Miquella... I see you've thrown away... something you should not have. Under any circumstances. How will you salvation offer... to those who cannot be saved? When you could not even save your other self?"

I teared up at this. The emotional impacted was aided by the fact that I ran into the spirit right after telling Moore to put his past behind him, leading him to rededicate himself to Miquella. He says:

"Hm. Maybe that’s Kindly Miquella’s love. Love for all the unloved. Love, to banish the pain."

Note here that Moore suggest Miquella's love will "banish the pain." This is also essentially what Trina's sleep does. It's a comfort to those in need. Anyway, between these two instances, we end up with a pretty good picture of the sort of god Miquella wants to become. He was already sympathetic to the outcasts of The Lands Between in the basegame, where he built Elphael and the Haligtree as a haven for those rejected by the Golden Order, such as the Albinaurics and Misbegotten we find there. In the Shadowlands, he has gone a step further. Hornsent tells us that he has committed himself, in essence, to righting Marika's wrongs.

"Miquella has said as much himself – he wishes now to throw it all away. He says the act – though undoubtedly painful – will sear clean the Erdtree’s wanton sin. The truth of his claim can be found at each cross. 'Tis evidence enough to earn my belief."

Of all of Marika's children, Miquella is the only one to see the serious flaws in her empire. Ymir points this out to us as well.

"No matter our efforts, if the roots are rotten, then we have little recourse. Ever-Young Miquella saw things for what they were. He knew his bloodline was tainted, his roots mired in madness. A tragedy if there ever was one. That he would feel compelled to renounce everything when the blame lay squarely with the mother."

My thinking here is aligned with Mother Ymir. You really have to feel for Miquella; he has essentially taken on, alone, the responsibility of making up for centuries of Golden Order imperialism. That's a massive burden to bear, especially for Miquella, cursed with eternal childhood.

(It's easy to miss, but Miquella actually ages up significantly when we see him in god-form. Until he steps back through the Divine Gate, he would have looked and sounded like he does in the introductory art and in ending memory scene. Compare those with how he appears in the boss fight, and it's clear godhood at least helped him reach puberty lol) So we've established that Miquella is the child of Imperial Rome on Steroids, is cursed with eternal childhood, and is an empathetic prodigy with the weight of the world on his shoulders. Surely his mental state is perfectly healthy, right? Right??

Final warning, this is where things get quite sad. Here is where I will try to tie Miquella's arc together with Thiollier and St Trina, and the comforting oblivion and relief from despair that sleep represents for them.

As we search for St Trina, we descend down into the Stone Coffin Fissure. This is a place of death, with massive coffins built into the fissure walls, and Gravebirds, Bloodfiends and Putrescent enemies everywhere. St Trina is found at the deepest possible pit of this fissure, in a swamp of putrescence that has since blossomed into a garden of deep velvet lilies because of her influence. Trina offers us nectar of "eternal sleep," as Thiollier did previously, and as established then, "eternal sleep" is essentially nothing more than a peaceful death. Trina seems to fit in quite well in this place of ancient dead things, with some of the ancient remains even being compelled to fight for her in exchange for eternal rest, becoming the Putrescent Knight.

(Side note for levity because we're about to get sad again; I love this guy. It's a knight made out of the skeleton of a horse, riding on that same horse's decaying flesh goop body. Like, ugh. Beautiful. Plus, it may even have taken that shape because of Trina sharing Miquella's memories of Radahn, who was never far from his horse Leonard...)

We meet St Trina in her garden, and when we imbibe her nectar, we eventually begin to hear her voice in our death-dreams. She seems to pity him. Mourn for him, almost.

"Make Miquella stop... Don't turn the poor thing into a god..."

Trina appears to be in a bad state after her fall. She can only manage to get a few words across to us at once. Just as Leda predicted, her heart hasn't wavered. She is only concerned with Miquella's well-being.

"Godhood would be Miquella's prison. A caged divinity... is beyond saving."

Trina's most pressing concern is that godhood will be a prison for Miquella. Now, this could in theory be because gods are subject to manipulation from the Fingers and the Greater Will or a similar reason, but given that she calls him a "poor thing," I think there is likely a more emotional reason behind Trina's plea. I think that Trina is speaking as the embodiment of Miquella's love, but especially his ability to love and care for himself...

"You must kill Miquella... Grant him forgiveness."

...and she asks us to kill him.

In excising Trina from his being, I think Miquella also expelled the part of himself that was able to recognize how miserable divinity would be for him, and how miserable he was. The part of him that was tired of carrying the responsibilities that his compassion demanded of him. The part of him that was exhausted, despairing and desperate from having failed to cure Malenia, failed to save Godwyn, failed to perfect the Haligtree. St Trina is the part of Miquella that wanted to be stopped, to rest, to sleep, to die. In abandoning her as he does, Miquella is essentially repressing those thoughts and feelings, replacing them with more "selfless" ones; self-sacrifice, suffering on behalf of others, his martyrdom and apotheosis. I don't want to forget about "grant him forgiveness" either. She might mean forgiveness for failing to become a god, for not being good enough to succeed Marika and right her wrings. Maybe forgiveness for failing Malenia and Godwyn, or for leaving the Haligtree behind. Maybe even for abandoning her. But on the road to godhood, Miquella can't afford to indulge in this sort of self-pity. A child craves forgiveness and approval, a god must cast these things out.

"I'm feeling rather lost. Haunted by memories. Of St. Trina. Her visage. Her scent. The lure of velvety sleep. Would Kindly Miquella chasten me? For falling for St. Trina, while knowing that she was the discarded half? The problem is… I simply cannot help it. I would sacrifice everything, just to gaze upon her, one last time."

I want to mention Thiollier one more time here too. His primary visual motif is the long white braids that he wears on his clothes, reminiscent of Miquella and Trina's own signature braids (remember, she looked like an older feminine Miquella before her fall and injury). Thiollier is obsessed with Trina, pursuing her to hear her voice and fade into the comfort of her velvet sleep, though this doesn't kill him like it does us. I don't think Thiollier is connected to Miquella in any textual way, but I think he does serve as a reflection of the sorts of thoughts Miquella may have been surpressing. The self-pity, the need for approval and love, the feelings of weakness and uselessness. These are the things that lead Thiollier to pursue endless slumber.

Thiollier doesn't give in to that despair, however. Though he initially takes St. Trina's words... poorly, he eventually realizes what must be done, and dedicates himself to his new purpose: carrying out her final wish.

"I am here to serve St. Trina evermore. I am deeply sorry. For doubting you. I am here only to grant St. Trina's singular wish. I will stop Miquella the kind. He will never become a god."

This post is already quite long, but I also want to mention the obvious gender stuff going on here. There are a number of moments that make it seem as though St. Trina might actually be more than just "half" of Miquella. Firstly, as she is shown falling in the story trailer, Leda is describing how Miquella abandoned his fate, as if Trina had a vital role to play in Miquella's future. It also seems as though Trina isn't cursed in the same way that Miquella is; her voice and size indicate that she is at least more substantial than his "infant form," and she is depicted in "adult form, somewhat unnervingly" on the Torch of St. Trina. Furthermore, her "adult form" has a third eye in the middle of her forehead. The third eye is a symbol of enlightenment in both Hinduism and Buddhism; it seems that Trina has achieved some level of wholeness in this depiction. Meanwhile, when Miquella achieves godhood, his eyes remain permanently shut. He also appears to have only one physical arm. He holds Radahn with two incorporeal arms while casting with his real right arm, but his left arm appears to fade away to nothing before the elbow, as if unfinished. Miquella's blindness and asymmetry here, I think, reflect how unbalanced and incomplete his divinity is without Trina.

One more hint towards St Trina being a part of Miquella's future lies way back at the Haligtree. In Malenia's bossroom, just above where Miquella's cocoon was once embedded into the tree, the branches and roots appear to form a silhouette. This could be Miquella, Trina, or both, but I do see a certain resemblance to Trina's depiction on the torch in the way the "hair" covers the eyes. Given that Miquella's body appears to have grown a decent amount inside of the cocoon when we see in at Mohg's palace, it's possible that the cocoon situation was his original attempt to cure himself of his own curse, or perhaps become a part of the Haligtree itself. In the Shaman Village, Marika's home, there is a similar scene. A woman's body that resembles Marika seemingly mummified within the hollow of a tree. I honestly have no idea what to make of that just yet, but I thought it worth a mention.

So, with all that in mind, abandoning Trina seems to be even more significant. Not only has Miquella divested himself of his love and his fate, but maybe even his future, too. Being eternally nascent, he is always in a state of potential, after all. Am I suggesting that Miquella is a transfeminine character? That he was meant to grow up to become a goddess in the aspect of St. Trina, or maybe even more like Marika than he already is? Well, maybe. If you find it compelling, then absolutely. Fromsoftware's storytelling is always ambiguous, and is always design to leave us some room to read and interpret, to really play in the space we are given. Personally, I do find it compelling in a horribly tragic sort of way, fitting for the setting. It's also entirely possible that I have rather self-indulgently projected some of my own angst onto these character. I likely have, to be perfectly honest. It's rare that I really connect with a set of characters or a story like I have with this lot, and I hope that maybe some of you reading this will feel similarly. If you have read this far, thanks <3

[drenched-in-sunlight]

elden ring OCs.

Raimes and Mirai. they hail from one of the main houses that made up Erdtree’s upper echelons.