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mari-lair · 1 month ago

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Tumblr user mari-lair I know you have moved on to other (equally beautiful) things aside from the occasional quality post about terkaneaoi BUT can I ASK!! Did you have any ocs of your own for tbhk?? I'm makin my own and I'm pretty scared of interacting with the large-scale fandom but I was just thinking wow I wonder if my favorite tbhk-poster has any thoughts on this,,

Good luck with your OCs! I don't engage much with OC fandom but I do like it. It's a nice and creative way to be self-indulgent/project onto a character/just have fun with new powers/mysteries/comcepts and let everyone know what it's all about from the get go, no canon characterization must be harmed for it either, is a win win. Or it can be an exercise to try to create something that would 'fit' the canon world, the OC possibilities are endless.

I have a few TBHK OCs. At first I only created them to have a role in Your Clock Is Ticking , since we know nothing of teru's classmates and i didn't want to use canon characters as tools with minor roles for my fics, but by now most of my OCs are fleshed out and I love them dearly.

Sugawa Rita was my first proper oc, so she got the honors of having an art

She is 17, a normal girl with no special blood, loves to bake, loves yellow, acts pretty open but is very closed off about her insecurities. She is considered pretty but not 'most hot in school!' type of pretty. She is the love interest of my full supernatural Akane (the name is Aka), since he is dead in the fic, she has no idea.

She is aroace (believes she is pan though), so even if Aka was alive in the fic he would have had no chance.

Shunji is someone I created to get a crush on Teru, but it was so fun to write him that I got attached, to the point I will give him a mini arc in the background where he get a good bf. (rockytye79 made an art of him!!! CHECK IT OUT: HERE )

Tsurai Yamato is an OC I made to be Aoi's dad, because I needed to give the Akane of the fic (who died 30 years before canon so most of the current manga characters weren't even born) a crush. He is a self-destructive mess in every sense of the word, I gave him way more depth than he needs for his role. Made him indeed a pure OC, for I have zero belief canon Aoi's dad would be anything like Yamato.

#here is a crumb of my ocs #i consider Aka an OC too in a way cause just like hanako is very diferent from amane. that ghost that is not akane-

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tanoraqui · 10 months ago

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Eldamar!Buzzfeed’s Top 5 Maglor Fëanorion Songs

9/26/422 Fo.A

[read on AO3]

The votes are in and the people have spoken! Thanks to our poll last week, Elf!Buzzfeed is excited to present our and your Top 5 Maglor Fëanorion compositions, with commentary from experts—including the infamous Singer himself!

5. First Age Northern Beleriandrin Songs of Warding and Warning

After the sheer number and variety of write-ins, we decided to credit Maglor with the whole genre of Songs of Warding and Warning of Siege-Era Northern Beleriand. Top write-ins included “Campfire Warding Song”, “Wind in the Grass” and “Song of the Gap.”

Expert Opinions:

Eglatarwen Lindambar, a Court Minstrel of Üdoriath: This is an insult to Queen Melian. The Noldor did naught but modify and build upon pre-existing Songs, and all or nearly all the popular Songs of Warding in Beleriand were taught or inspired by Melian, even before she created the Great Girdle. I will concede their effectiveness—against most things pettier than dragons, at least—but to credit him with the genre? So much for journalistic neutrality.

Timpenindë Cuilemë, preeminent bard among the Noldor: Oh, I don’t know if I’m qualified for this one—I was only in Beleriand for a few decades for the War. But I did recognize Maglor’s work when I found it, and we found it in quite a few places. I think he deserves more credit for the endurance of Himring, actually—I saw that immediately. It may be Maedhros’s will sunk deep into those stones, so deep that neither Morgoth not Ulmo could wear them down. But it’s Maglor’s classic Songs, all love and faith and bloody-minded stubbornness, that served as the final mortar.

Maglor: I’m flattered, but I really don’t think I should be taking credit for this. I did compose my first warding-Song entirely organically, to keep annoying younger brothers out of my bedroom. But everything— almost everything in the First Age was collaborative. “Campfire Warding Song” is ancient—I learned it in my youth from my father, who learned it from his, who Sang it in Cuivienen and during the Great Journey. All I did was modify it to be more attuned to the enemies we faced later, as orcs and such were new and rare for our forefathers. “Song of the Gap” is a call-and-response with constant improvisation—I did compose the basic melody and rhythm, but it varies every time it’s Sung! Likewise “Wind in the Grass”, “Lullaby for Foes”, “Tread Thee Not (or Suffer our Wrath Resplendent)”…I’m not saying we didn’t compose some good Music, but it was all very collaborative!

4. Noldolantë (Full)

The complete story of the Fall of the Noldor: the prologue of Finwë’s first visit to Aman, then the tragedy of Miriel, the division of the Noldor and the slaughter of Finwë, the Oath, the First Kinslaying, the Burning of the Ships, the Siege, the Breaking of the Siege, the Nirnaeth Arnoediad, the Falls of Gondolin and Nargothrond, the Second Kinslaying, the Third Kinslaying, the War of Wrath and final theft of the Silmarils, the suicide of Maedhros and the lone Singer himself wandering remorseful forevermore; with a postscript for the forging of the One Ring, the deaths of Celebrimbor and Gil-Galad, and the Fall of Númenor. It isn’t pure grief—there are bright spots in the Rescue of Maedhros, the Tale of Beren and Lúthien (borrowing melodically and lyrically from the Lay of Leithien), the rise of Gil-Estel. However, its wide range of tragedies is famously able to reduce even the stoniest heart to tears at least once.

Composed in pieces mostly over the course of the First Age, and refined into a single piece over the course of the Second and Third Ages, as the singer wandered alone and repentant on the shores of mortal Arda. Takes six and a half days to sing all the way through, unstopping.

Expert Opinions:

Timpenindë: This is not Maglor’s best work. I don’t even think it’s his fourth-best work, honestly. It is impressive that he maintains the intensity of emotion throughout—deftly waxing and waning, but mostly waxing—and maybe only Maglor could do that for six and a half straight days! But even if it's strong throughout, the whole 'throughout' is just...too much. Even a powerful Singer has to half-kill themselves to perform this, and it's not much more gentle on the audience. Admittedly, I'm not sure what he could possibly cut, but... It is what it is, but it's just not his best work. Also, the lyrics could use work—more poetry in a couple places, less in others, and I know the faltering meter and rhyme represents his descent into madness but... Well, it suffers from the fact that he was genuinely descending into madness.

Finrod Felagund, High Prince of the Noldor, etc etc: I think this might be ranking so high based on name recognition, honestly. I usually start crying within the first hour, and don't stop... But laced through all my grief for...everything...is the question: if Maglor could produce this sustained tidal wave of craft and raw emotion while wandering lost for 6,000 years, what could he have done if he'd been found instead? It makes me dream wistfully of what greater, kinder marvels he could have wrought... Which only ties into the themes of the song, of course—what could the Noldor have been, if we hadn't gone down the roads we did? What could Arda have been? So, all the more credit to the composer for so thoroughly manifesting this masterpiece!

Maglor: I believe this piece speaks for itself, and for myself.

3. Noldolantë (Original/Standard)

Written in the style of a traditional Noldorin history-song, the original Noldolantë is an accounting of the events of the Darkening through the death of Fëanor, with references at the end to early First Age events including the Rescue of Maedhros and the Dagor Aglareb. Focus is primarily on the Kinslaying at Alqualondë, and secondarily on the Burning of the Ships. Though Maglor originally composed it in Quenya during his brief reign as King of the Noldor and added events throughout the First Age (see: "4. Noldolantë (Full)", this translation into Sindarin, first performed publicly in 68 FA, is the version that was widespread and popular throughout First Age Beleriand and thereafter, and remains most identifiable as "Noldolantë."

Major themes include loss of life and loss of innocence; grief, regret and repentance over the same; and determination to take all this hurt, and all the hurt in Arda, and throw it back at the Enemy tenfold, with sword, Song and fire. Takes about four hours to sing in full, though individual sections were often excerpted as marching chants or battle hymns.

Expert Opinions:

Eglatarwen: The Noldolantë is an undeniably impressive work of technical song-craft, engaging and well-paced narrative, heart-wrenching passion...and propaganda. To not treat it as propaganda would be to do it a disservice, because it's also a very impressive work of propaganda! It takes betrayal and atrocity and turns it into...not 'necessity', to be fair, and nor does it shirk the fault of the Noldor—though it certainly blames Morgoth as well. But it takes the irredeemable and almost inexorably turns it redeemable. Horrors and darkness which can and will be moved on from. Terrible mistakes which can and will be learned from. If only that had been true.

Eärwen Olwiel, Princess of the Teleri, High Queen-Consort of the Noldor: Surprisingly factual and earnestly apologetic, I think, for all its spin.

Finrod: I still hum it sometimes. I still hum parts about Alqualondë sometimes. I hate how good at this he is.

Maglor: Of course it's propaganda. It was propaganda just for me, first, when I needed to make some reassuring sense of everything or I would shatter like a wedding glass. Then I sang it to buck up my people, not least my younger brothers, and keep us going through some of the worst years of my life. Then word came of Thingol's Ban and we needed a response of equal—though not directly contradictory, you'll note!—social impact—and, appropriately, I had this piece that only really needed to be translated into Sindarin in order to serve. Though of course I did need to rewrite every single word and note in subtle, crafty ways to accommodate the new language, and sometimes in very obvious ways. I still miss the original recursive arpeggios... Shoutout to Glauriel of the Plains for thrice saving my life: once from an orc arrow, once from dragonfire, and once for not killing me herself when I recruited her to help me with the translations, said I only needed a quick Sindarin-native judgement on a few scattered verses, and then made her help me rewrite the first bridge alone six times in six days.

2. “The Song That Never Ends”

Infamously annoying short tune which loops both lyrically and melodically, sung most often by children. Composed pre-Darkening. No true potency save, it is rumored, as a means of tormenting enemy prisoners.

Expert Opinions:

Eglatarwen: This song is a malicious attack.

Timpenindë: This is in second place? Stars, I can't believe I was ever engaged to that elf.

Finrod: [staring into the unseen distance as one haunted by memories of torment] The Edain learned this, somehow. The thing about the children of Men, you know, is that they're only children for a very short amount of time relative to us... But there are always more of them...

Maglor: I genuinely regret this one. I’m not sure I even remember why I wrote it. I think to annoy my parents, or maybe Nelyo—hey, Nelyo! [to his brother, passing by] Do you remember when or why I came up with that annoying looping song?

Maedhros Fëanorion: [upon further explanation of the question and context] This is in second place? [to Maglor] I should've killed you when I had the chance. When I still did things like that. [upon being told Finrod's comment on the song] 'Mannish children'? Ha! You can give those back to their parents, not like siblings—of which he only had four, I’ll note, and none of them composed this monstrosity. And speaking of Man-ish children, whom you can’t give back to their parents, he should try righteously vengeful, maliciously compliant teenage—

[He cut off as our host, Elrond Peredhel, walked in, whistling a few idle, familiar notes before offering everyone another round of tea. Maglor and Maedhros both winced, though they said nothing save to accept tea.]

1. Ardamirë

Unofficial subtitle: (Father) It's Not Only Ours Anymore

An ode to Gil-Estel—the jewel, the Light, the ship and captain, the Star. Elements composed and gathered over nearly 6,500 years of wandering on mortal shores, including elements of the Noldolantë; arranged into a complete song in the decades after Maglor’s return to Valinor at the start of the Fourth Age. Takes about three hours to sing in full, reducing most listeners to mostly-joyful tears.

Expert Opinions:

Maglor: Good choice, people—this one is the best.

Fëanor Curufinwë, Crafter of the Silmarils: I won't pretend to be as expert in musical composition as my son, in Songs of Power or simply in casual music-craft. However, I'm certain this isn't his best work, technically speaking. Did truly so few people vote for "The Great Journey” or “On the Slopes of Túna"? [shaking his head] The wisdom of the Eldar truly has been diluted... And surely the recency of this composition biases voters in its favor. Are you certain you've balanced your data properly? …But the song is persuasive. And sticks in one's head very effectively. I've been thinking about it.

#maglor #the silmarillion #my fic #ficlet #feanor and feanor’s kin #aman ever after #[soft launches my OC maglor’s (ex-)fiancée]

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