#Tolkien fandom in all its glory

[i-did-not-mean-to]

Where to now?

It's my birthday, and my 1k event is long overdue...

So, here we go! I shall give you a choice, and you decide. Every week, I will post a new chapter based on the choice of the previous week :D

You wake up, disoriented, on a slab of cold, uncomfortable stone. Looking down at your tingling hands, you realise that you’re shockingly naked, and you half expect to start spinning against your volition like the tiny, animated characters in the games you so love. With a heavy sigh, you scan your surroundings—all you can make out in the ominous, greyish chiaroscuro is a heavy door. Naturally, you’re left with no other valid choice than to open it, and, as soon as it swings open with an atmospheric creak, you realise that you’re at the bottom of a valley from which several paths lead up. Where will you go now?

[apoloadonisandnarcissus]

Of Lust and Sex on Tolkien lore: Sauron x Galadriel in “Rings of Power”

Many fellow fans have complaint there’s a trend among the Tolkien fandom to de-sexualize Galadriel, but folks, this is not exclusive to her character. This is, actually, an on-going theme on how many see Tolkien’s world and work, in general, and it runs deeps.

There’s this weird headcanon that, just because Tolkien was catholic and a “gentleman”, the world he built is somehow devoid of sexuality or sexual matters, and asexual in itself. Nothing wrong with that, except we have countless examples of “sexual stuff” happening in the legendarium, from characters lusting after each other, to actual sexual assault. Just because Tolkien didn’t write explicit sex scenes (let’s say like George R.R. Martin, who devoted himself to try subvert Tolkien) doesn’t mean is not there. Not everything needs to be “in your face” meaning explicit.

Firstly, Tolkien cared enough about sexuality to write several essays on the matter, namely about the Eldar sex culture and customs. It’s clear that the Elves try to be the “perfect Catholics” on his lore, and this reflects on their views of sex = marriage, premarital sex is frowned upon, repression of sexual desire, adultery is unthinkable, and divorce is forbidden. The Eldar sex culture is purity culture in a nutshell. And it reflects Tolkien’s own views on the subject:

Later in life when sex cools down, it may be possible. It may happen between saints. To ordinary folk it can only rarely occur [...] Faithfulness in Christian marriage entails that: great mortification. For a Christian man there is no escape. Marriage may help to sanctify & direct to its proper object his sexual desires; its grace may help him in the struggle; but the struggle remains. It will not satisfy him – as hunger may be kept off by regular meals [...] No man, however truly he loved his betrothed and bride as a young man, has lived faithful to her as a wife in mind and body without deliberate conscious exercise of the will, without self-denial.   [...] Out of the darkness of my life, so much frustrated, I put before you the one great thing to love on earth: the Blessed Sacrament [Marriage].... There you will find romance, glory, honour, fidelity, and the true way of all your loves upon earth, and more than that: Death: by the divine paradox, that which ends life, and demands the surrender of all, and yet by the taste (or foretaste) of which alone can what you seek in your earthly relationships (love, faithfulness, joy) be maintained, or take on that complexion of reality, of eternal endurance, which every man's heart desires.  Tolkien Letter 43

In Tolkien lore, there’s a strong connection between sex and morality. This is clear on the most iconic romances on his legendarium: Beren and Lúthien, Aragorn and Arwen, etc., which follow the medieval tradition of Chivalric romance: adventures of knights, courtly love, codes of honor and chivalry, trials and tribulations in the pursuit of love and glory.

“Courly love”, in the European tradition, is a highly idealized portrayal of human romantic relationships, that emerged in the medieval courts of the continent. Is a form of ritualized love between a knight (Beren/Aragorn) and his lady (Lúthien/Arwen), characterized by restrain, discretion and devotion.  Tolkien himself talks about this, as well: 

It idealizes ‘love’ - and as far as it goes can be very good, since it takes in far more than physical pleasure, and enjoins if not purity, at least fidelity, and so self-denial, 'service’, courtesy, honor, and courage. Its weakness is, of course, that it began as an artificial courtly game, a way of enjoying love for its own sake without reference to (and indeed contrary to) matrimony. 

It’s clear Tolkien sees the lustful side of relationships as something sinful, but does this equal “evil”? No, because his characters (including the Elves) and the legendarium are complex, and this is not a pure Good vs. Pure Evil world, as Tolkien says himself: 

Some reviewers have called the whole thing simple-minded, just a plain fight between Good and Evil, with all the good just good, and the bad just bad. Pardonable, perhaps (though at least Boromir has been overlooked) in people in a hurry, and with only a fragment to read, and, of course, without the earlier written but unpublished Elvish histories. But the Elves are not wholly good or in the right. Tolkien Letter 154

For Tolkien, is more about being on the “right side of History” (let’s put it this way) than being an immaculate hero. His characters are complexed and nuanced:  

There are also conflicts about important things or ideas. In such cases I am more impressed by the extreme importance of being on the right side, than I am disturbed by the revelation of the jungle of confused motives, private purposes, and individual actions (noble or base) in which the right and the wrong in actual human conflicts are commonly involved. If the conflict really is about things properly called right and wrong, or good and evil, then the rightness or goodness of one side is not proved or established by the claims of either side; it must depend on values and beliefs above and independent of the particular conflict. A judge must assign right and wrong according to principles which he holds valid in all cases. That being so, the right will remain an inalienable possession of the right side and Justify its cause throughout. (I speak of causes, not of individuals. Of course to a judge whose moral ideas have a religious or philosophical basis, or indeed to anyone not blinded by partisan fanaticism, the rightness of the cause will not justify the actions of its supporters, as individuals, that are morally wicked. But though 'propaganda' may seize on them as proofs that their cause was not in fact 'right', that is not valid. The aggressors are themselves primarily to blame for the evil deeds that proceed from their original violation of justice and the passions that their own wickedness must naturally (by their standards) have been expected to arouse. They at any rate have no right to demand that their victims when assaulted should not demand an eye for an eye or a tooth for a tooth.) Similarly, good actions by those on the wrong side will not justify their cause. There may be deeds on the wrong side of heroic courage, or some of a higher moral level: deeds of mercy and forbearance. A judge may accord them honour and rejoice to see how some men can rise above the hate and anger of a conflict; even as he may deplore the evil deeds on the right side and be grieved to see how hatred once provoked can drag them down. But this will not alter his judgement as to which side was in the right, nor his assignment of the primary blame for all the evil that followed to the other side. In my story I do not deal in Absolute Evil.  Letter 183 

This is why, in "Rings of Power", Sauron can be in love with Galadriel and still be the villain he is. Tolkien doesn’t deal in absolutes, and Sauron is not pure evil, either.

And if people can’t wrap their head around nuanced and complex ideas, it’s not Tolkien's fault, really. This concept that “evil can love” (and it doesn’t make it any less evil) is absolutely fascinating to me, because I wholesome agree with this. Folks have this idealized notion of love (even Tolkien himself talks about this), like it’s only valid if it’s Beren and Lúthien. When it’s not. “Lord of the Rings” is meant to reflect our “fallen” world; and, in our world, tyrants and dictators can love, and have families, and still be genocidal monsters. Their ability to feel romantic love has no direct connection in how they treat their subjects. This is why Tolkien says that “good actions” on the wrong side don’t excuse it nor make it any less evil.

This is not “Harry Potter”, and Sauron is not “Voldemort” that can’t never “know love”. Tolkien was a college professor at Oxford, a renounced linguistic, the father of the modern fantasy genre, and a classic of World literature, he would never write just a basic concept.

This leads me to the idea that “Elves are not wholly good”, and that, they too, can be sinful, and that doesn’t make them “evil” (= on the wrong side). We see this with Galadriel in Tolkien legendarium; not only she commits the sin of pride, and greed, but also lust.  

In "Unfinished Tales", Tolkien tells us: Celeborn was the lover of Galadriel, who she later wedded. In Letter 43, Tolkien defines what he means by “a lover” (in general): “engaging and blending all his affections and powers of mind and body in a complex emotion powerfully coloured and energized by sex”.

So, it’s safe to assume that Galadriel was having sex with Celeborn before they were even married (premarital sex). Probably that’s why he had no quarrels with the wild John Boorman script of her and Frodo f*cking in the middle of the woods.

Galadriel doesn’t care about the Eldar sex customs, because, of course, she doesn’t, she's above that, being Noldor royalty and her own authority. Which makes sense with her “repentant sinner” character arc in the legendarium, actually.

Because, as Tolkien, told us: “in The Lord of the Rings the conflict is not basically about 'freedom', though that is naturally involved. It is about God, and His sole right to divine honour” (Letter 183). And “sin” is considered a transgression against divine law (aka God); an offense against religious and moral laws.

Tolkien was religious, but he wasn’t a Catholic priest, and he was well aware that women have sexual desire, and some are, indeed, promiscuous and have no problems acting on it: “You may meet in life (as in literature) women who are flighty, or even plain wanton — I don't refer to mere flirtatiousness, the sparring practice for the real combat, but to women who are too silly to take even love seriously, or are actually so depraved as to enjoy 'conquests', or even enjoy the giving of pain – but these are abnormalities, even though false teaching, bad upbringing, and corrupt fashions may encourage them” (Letter 43). Pardon the language, but Tolkien was, after all, a man of his time. 

The “Higher Beings” Nonsense 

This is one of the occasions I completely disagree with Charlie Vickers when he calls Sauron a “higher being”. He probably means it in sense he’s a Maia, a demigod or an angel in Tolkien lore, but his use of words can cause some confusion. Sauron is, in no way, shape of form, an “higher being” (in the Christain sense): he’s a literal demon, a satanist, a follower and a servant of Satan himself, in Tolkien legendarium. Demons exist in the lowest frequencies of existence in Christian theology.

Tolkien makes this very clear on his letters: Melkor/Morgoth is Lucifer/Satan on his myth, he straight-up calls him “diabolus” (Letter 153). It should be obvious enough on his entire character: he’s the one who corrupts God’s creation and is the symbolic archangel/Valar (like Lucifer was). Him being dragged in chains and imprisoned until the end of time also parallels a biblical event.

Sauron is the chief satanist demon in the lore, the #1 servant and follower of Morgoth/Satan: Satanic rebellion and evil of Morgoth and his satellite Sauron; in which Evil is largely incarnate, and in which physical resistance to it is a major act of loyalty to God (Letter 156).

And here, too, there’s a weird attempt of de-sexualizing these characters (mostly Sauron) in the Tolkien fandom. Despite the fact almost everyone recognizes the Christian inspiration here, and the Devil being seen as the creator of all kinds of sexual depravity, deviation and promiscuity in the world (according to Christain faith); the same way Morgoth was responsible for "corrupting" Arda. Apparently, sex had nothing to do with this corruption, according to some. Odd, to say the least, when Tolkien gives us descriptions of “indominable lust” on both characters (Morgoth and Sauron).

Them being magical and demonic creatures might indicate they have the ability to control whenever they want to reproduce or not. We know from the lore that Morgoth bound himself to his physical form because of his non-stop corruption of Arda. 

On Note 5 (“Vinyar Tengwar”) of “Osanwe-kenta", Tolkien writes: 

The things that are most binding [to Valar and Maiar] are those that in the Incarnates have to do with the life of the hroa itself, its sustenance, and its propagation. Thus eating and drinking are binding, but not the delight in beauty of sound and form. Most binding is begetting or conceiving.  We do not know the axani (laws, rules, as primarily proceeding from Eru) that were laid down upon the Valar with particular reference to their state, but it seems clear that there was no axan against these things. Nonetheless it appears to be an axan, or maybe necessary consequence, that if they are done, then the spirit must dwell in the body that is used, and be under the same necessities as the Incarnate. The only case that is known in the histories of the Eldar is that of Melian (...)  'The great Valar do not do these things: they beget not, neither do they eat and drink, save at the high asari, in token of their lordship and indwelling of Arda, and for the blessing and sustenance of the Children. Melkor alone became at last bound to a bodily form...' 

This might suggest that Morgoth became bound a physical form because of his “great lust”. "Begetting and conceiving” might, indeed, mean more than just standard reproduction, because Morgoth did “begot” with creation and mastery of several races and creatures. However, the only other example of a Ainur (in this case a Maia) getting bound to a physical form in the lore is Melian, when she became pregnant with Lúthien (after reproducing with her Elf love, Thingol). 

* Trigger warning: Mentions of Sexual Assault *

Then we have the fact that Morgoth might have been a serial r*pist. In “Myths Transformed” section of “Morgoth’s ring”, Tolkien has Morgoth r*ping Arien, the Maia who ruled the sun, and was “the most ardent and beautiful of all the spirits that had entered into Eä with [Varda]":  

. . . afire at once with desire and anger, [Melkor] went to Asa  [The Sun] and he spoke to Arie, saying: 'I have chosen thee,   and thou shalt be my spouse, even as Varda is to Manwe,   and together we shall wield all splendour and majesty. Then the kingship of Arda shall be mine in deed as in right,  and thou shalt be the partner of my glory.'  But Arie rejected Melkor and rebuked him, saying:  'Speak not of right, which thou hast long forgotten.  Neither for thee nor by thee alone was Ea made; and  thou shalt not be King of Arda. Beware therefore;  for there is in the heart of [Asa] a light in which  thou hast no part, and a fire which will not serve thee.  Put not out thy hand to it. For though thy potency  may destroy it, it will burn thee and thy brightness   will be made dark.'    Melkor did not heed her warning, but cried in his wrath:  'The gift which was withheld I take!' and he ravished Arie,  desiring both to abase her and to take into himself her powers.  Then the spirit of Arie went up like a flame of anguish and wrath,  and departed for ever from Arda; and the Sun was bereft  of the Light of Varda, and was stained by the assault of Melkor.  And [the Sun] being for a long while without rule . . . grievous   hurt was done to Arda . . .  until with long toil the Valar made   a new order. But even as Arie foretold, Melkor was burned   and his brightness darkened, and he gave no more light,   but light pained him exceedingly   and he hated it.    Nonetheless Melkor would not leave Arda in peace . . . 

So, yes, Tolkien really had the Devil r*ping the Sun... Can this be a parallel Sauron and Galadriel’s scene in “Rings of Power” Season 2 finale? When Sauron ravishes Galadriel's soul using Morgoth's crown? Since Sauron said he would make Galadriel a “queen as fair as the sea and the sun”, in 1x08? No quite. But more on that later.

Then we have the infamous Lúthien episode. There is an on-going debate on Morgoth’s intentions in this scene, but, in my opinion, and taking in consideration the incident with Arien, the “since he fled from Valinor” bit might indicate his intention was, indeed, to r*pe Lúthien. 

Then Morgoth looking upon her beauty [Lúthien] conceived in his thought an evil lust, and a design more dark than any that had yet come into his heart since he fled from Valinor. Thus he was beguiled by his own malice, for he watched her, leaving her free for a while, and taking secret pleasure in his thought. The Silmarillion [Lúthien dances for Morgoth on his Dark Throne, before she puts him and all the host of Angband to sleep with her magic singing]

Tolkien comes back to this “evil lust” Morgoth felt for Lúthien on several works:

…Yet I will give a respite brief, a while to live, a little while, though purchased dear, to Lúthien the fair and clear, a pretty toy for idle hour. In slothful garden many a flower like thee the amorous gods are used honey-sweet to kiss, and cast then bruised, their fragrance loosing, under feet. … A! curse the Gods! O hunger dire,O blinding thirst’s unending fire! One moment shall ye cease, and slake your sting with morsel I here take! In his eyes the fire to flame was fanned,and forth he stretched his brazen hand.Lúthien as shadow shrank aside. ‘Not thus, O King! Not thus!’ she cried. … …And her wings she caught then deftly up, and swift as thought slipped from his grasp, and wheeling round, fluttering before his eyes, she wound a mazy-wingéd dance… The Lay of Leithian, The Lost Road and Other Writings

“Nay,” saith Melkor, “such things are little to my mind; but as thou hast come thus far to dance, dance, and after we will see,” and with that he leered horribly, for his dark mind pondered some evil.  Book of Lost Tales vol.2

Then Morgoth laughed, but he was moved with suspicion, and said that her accursed race would get no soft words or favour in Angband. What could she do to give him pleasure, and save herself from the lowest dungeons? He reached out his mighty brazen hand but she shrank away. He is angry but she offers to dance. Commentary to the Lay of Leithian (The Lays of Beleriand)

Almost every servant of Morgoth either came to resent him or were absolutely terrified of him. The most notorious case being Sauron himself, as he went into the hiding after his spectacular defeat in Tol-in-Gauhoth (at the hands of Lúthien and Huan, the Hound of Valinor), probably to escape being punished by Morgoth.

“Rings of Power” already had Sauron talking about the unbelievable tortures he endured at Morgoth’s hands, and taking into consideration all of this… well, those “r*pe of Mairon” dead dove fanfictions might be on to something here.

Do you know what it is to be tortured at the hands of a god?

Sauron’s entire dialogue in this scene can be interpreted as that of a r*pe survivor, actually: we have the dissociation element of “sometimes, the pain almost became a reward. Became a game"; and the self-guilt of “no, you chose it” (which is something many victims of sexual assault go through).

And then, we have the fact that the “feminization of hyper-masculine Mairon” was a consequence of his corruption by Morgoth, as I’ve already talked about in this post.

Tolkien himself talks about the Christian devil in terms of sex and lust, so it’s odd why the Tolkien fandom plays mental gymnastics trying to equalize Tolkien’s use of the sin “lust” with “greed” (these are two different sins in Christian theology, even though they are connected). 

The devil is endlessly ingenious, and sex is his favorite subject. He is as good every bit at catching you through generous romantic or tender motives, as through baser or more animal ones. Letter 43

Greed vs. Lust in Tolkien Lore

Indeed, Tolkien uses the sin “Lust” in connection with "Power" and "Jewels" (Silmarils/One ring/gold), but this might be a metaphor for sexual temptation, as well. Mainly because of his Christian inspiration behind the whole story.

Some examples of Tolkien’s usage of the word “lust”, that might be interpreted as “greed”:

The oath of the sons of Fëanor becomes operative, and lust for the Silmarils brings all the kingdoms of the Elves to ruin."  "But also they [rings of power] enhanced the natural powers of a possessor – thus approaching 'magic', a motive easily corruptible into evil, a lust for domination."  "Very slowly, beginning with fair motives: the reorganising and rehabilitation of the ruin of Middle-earth, 'neglected by the gods', he [Sauron] becomes a reincarnation of Evil, and a thing lusting for Complete Power – and so consumed ever more fiercely with hate (especially of gods and Elves)."  Now Sauron’s lust and pride increased, until he knew no bounds, and he determined to make himself master of all things in Middle-earth, and to destroy the Elves, and to compass if he might, the downfall of Númenor

"Also so great was the [One] Ring's power of lust, that anyone who used it became mastered by it..."  The Númenóreans attempted to take the Undying Land by force of a great armada in their lust for corporal immortality.

“Greed” is the disordered desire to consume (wealth, power); while “Lust” is the disordered desire to possess (something or someone). Lust is “consumption” and “action”, while greed is “hoarding” and “possessing”. Someone who is greedy wants more and more of something (not necessarily do anything with it); while someone who is lustful wants to do something with the thing it desires.

But “desire” that is not acted upon in Tolkien lore is not sinful, nor it’s a transgression of God’s (Eru) laws.

“The Original sin” (or “The Fall") is central to Tolkien world-building: “The dislocation of sex-instinct is one of the chief symptoms of the Fall [of Adam and Eve]”. And this means is that Lust is the “original sin”, and the gateway to sin, and from where all other sins originate.  

St. Paul writes "cupiditas radix malorum": “the root of all evil is cupidity". This is motivated by the fact that Eve ate the forbidden fruit because "she saw it, was beautiful". This explains why Christians have such a bad view of sex, especially when it’s not restrained by marriage.

There is lust for the forbidden fruit (the fruit from the tree of knowledge of good and evil that Adam and Eve were instructed not to eat in the Garden of Eden). This is when “sin” is first introduced into the world, leading to their banishment from paradise. The themes here are: disobedience to God, and succumbing to temptation (Devil).

And it’s the serpent that inflames Eve's lust, and "Rings of Power" wasn't even being subtle here (even the OST for this scene is called "The Fall of Galadriel"): 

“Lust”, in his biblical/catholic sense, is the misuse of the body, sexually. The opposite of “lust” is “temperance” and “chastity”. “Lust” is disorderly sexual desire, and the subordinated enjoyment of sexual pleasure (against God’s law). It’s not just promiscuity, but extra-marital sex, as well.

In the Bible, “lust” is thematized by adultery (because marriage is a sacred sacrament, and acting against it, it’s breaking God’s laws, hence being a “deadly sin”). We also see this sin in connection with “idolatry” (one of Sauron’s crimes in Tolkien lore), when characters (such as Solomon) take foreign wives, symbolizing the forsaking of one’s partner for another.

But the catch here is: Eve wanted to eat the forbidden fruit. She wanted to bite into it, it was consensual. She was tempted, and she succumbed to temptation, to lust.

This pretty much goes hand with hand what I wrote on my “Of sin and sinners” post, that made the purity police gone wild. Galadriel and Sauron’s dynamic is not only hyper sexual, but it’s being consummated as well, and that’s why Galadriel gets banish from Valinor.

Sauron ravishing Galadriel using a sharp object parallels another Christian event (demonic version): the Ecstasy of Saint Teresa.

Beside me, on the left, appeared an angel in bodily form…. He was […] very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire…. In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one’s soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share.

This is, essentially, a description of a Catholic saint having an orgasm. The “lorebros” wanted the Virgin Mary that never was, and “Rings of Power” delivered. Iconic. And that probably provides the subtext to this unhinged expression over here:

Happy with ourselves, are we?

So, yes, in the end, Sauron did take Celeborn’s woman as foreshadowed by Season 1 with the “clams” scene in Númenor (1x03). And now that his blood is inside of her, stuff is about to get wild.

[foundfamilynonsense]

I don’t think some people realize why the gray jedi thing pisses some of us off so badly.

Imagine you like lord of the rings and you decide to look around the fandom.

And it turns out that 10+ or something years ago someone wrote a piece of fanfiction where they rewrote the rules for the ring. So instead of it only having one master and corrupting everyone else that tried to use it, it sometimes chooses to take a new master if it feels the person is worthy of it. And therefore this author’s self-insert OC can now use the one ring in all its glory without getting turned crazy.

This fanfic gets published (as some fanfics do) and most of the fandom has read it and loves it.

Now, when you (someone who has only dealt with canon works written by Tolkien) see this fic you go… huh. That’s nice, but it goes against the very point of the books and the lore tolkien created. So while it’s a good fic I’m not going to interact with it.

But then people keep harassing you for taking about/ writing the one ring the way tolkien wrote it to begin with.

And they SWEAR that this is the Actual lore of the one ring, and that YOU are wrong. Which is completely insane to you, because FRODE TOOK IT TO MORDOR FOR A REASON. There is only one lord of the ring!! That’s literally the name of the series that’s what it’s about!! If what the fandom was insisting about was possible, there would be no plot. In the original books.

This is why we are so upset over gray jedi!! Bc if it was possible to use the dark side but still be a good guy then wtf is wrong with Anakin? Why the fuck did Darth Vader fall to the dark side? Why did Luke struggle so much? If you can have your cake and eat it too why are the movies so fuckin long?? Why did Luke fail against Vader in Empire? what lesson did he learn in Return? Why would the movie be called Return of the Jedi if Luke had not learned the Jedi ways????

You can write OC’s as gray jedi all you want but when you start forcing it into canon it literally ruins the movies!

[thelordofgifs]

On Maglor’s Fate

(and why it’s a good thing)

I’ve seen several excellent posts by people far more knowledgeable about HoME than I pointing out that Maglor’s fate in the published silm – wandering the shores in eternal lament – was in fact taken by Christopher Tolkien from a single draft of the legendarium, and that JRRT’s later conception of Maglor’s fate was that he died by suicide at the same time as Maedhros, casting himself into the sea along with his Silmaril. This is a very good point, but despite the fandom’s general lack of adherence to published silm canon (see the prevalence of crispy Amrod truthers, or the lack of consensus on Gil-galad’s parentage) most people seem to have cleaved rather strongly to the idea of Maglor’s survival. Why?

Well, I would like to argue, because it’s SO much more interesting.

Of course, your headcanons are valid! If you prefer thinking that Maglor died at the end of the First Age, go for it; most of the texts support you! But for all the Maglor girlies (gender-neutral) out there, here’s a non-exhaustive list of reasons why Maglor’s survival is better, more satisfying storytelling, and you should continue to cling to this one outdated draft of the silm.

It fits Maglor’s arc better. For such a popular character, I always find it interesting that Maglor is only really developed in the final chapter of the silm – but what we do get in that final chapter is so fascinating. He takes pity on Elrond and Elros, he speaks against stealing the Silmarils, and, most pertinently to my point here, he effectively relinquishes his claim to Eärendil’s Silmaril. The straight line from "its glory is seen now by many, and is yet secure from all evil", to wanting to surrender to Eönwë, to actually throwing a Silmaril into the sea is SO delicious. A lot of that character growth is wiped out if Maglor instead casts both himself and the Silmaril into the sea.

It better sets up Maglor as a foil to Maedhros. I will never shut up about how Maglor's last debate with Maedhros is the best and most heartbreaking dialogue in the book. Its construction is exquisite, and one of the things I love about it the most is the way they mirror each other's words, becoming, in a way, reflections of each other. ("Who shall release us?"—"If none can release us...") All of Maglor's actions in the final chapter are in direct contrast to Maedhros': compare the fostering of Elrond and Elros with Maedhros' failure to save Eluréd and Elurín, and then consider why it is that Maglor still seems to have some hope that things will all work out (which is why he wants to surrender) while Maedhros despairs completely. That contrast makes it important to me that Maglor reacts in a different, more optimistic manner than Maedhros to the Silmarils burning them. ("More optimistic" by the bleak bleak standards of the end of the silm, at least.) I also really like the kidnap fam parallels of Elros and Maedhros both choosing death in very different ways, whereas Elrond and Maglor both choose life - E&E almost repeating M&M's decisions in a healthier and more wholesome manner.

It better preserves Maedhros' arc. Leading on from the last point, but, I think, separate. Maedhros' suicide, in addition to being just ridiculously tragic, is fascinating. The despair, the profundity of the realisation that it was all for nothing, the idea that Maedhros, who spent decades as a captive of Morgoth, is the one person knows exactly what being burned by the Silmarils means - aahh it's so good I can't dissect it all here. But do also consider Maedhros begging Fingon to kill him, and how he finally got his wish, centuries later! That terrible fall from grace is Maedhros' story. I think having Maglor also die by suicide actually diminishes Maedhros' tragedy, with the rather perverse outcome that two deaths end up being less sad than one.

Unresolved endings are good. This is a rather more personal one, tbh - but I love those last messy loose ends, and Maglor's survival is a quintessential one. Don't the great tales never end? There is, of course, so much excellent fanfic potential in Maglor still wandering Middle-Earth into the Second and Third Ages. Here's a legend from the Elder Days, and you can have him stroll into Rivendell if you want! So much more satisfying than neatly wrapping the story up and tying a bow on top.

As far as I can tell, Tolkien's own reasons for having Maglor die instead were that he wanted Galadriel to be the last surviving leader of the rebellion of the Noldor; I've also seen it argued that Maglor needs to die so that Celebrimbor can be the last surviving Fëanorian. To be honest, I don't think Maglor's survival does much damage to either of these arcs. He's effectively a non-entity after the First Age; the text specifies that he "came never back among the people of the Elves". So you can definitely prefer a version of canon where Maglor lives without losing all those Very Important Feelings about Celebrimbor!

There are, of course, myriad self-indulgent reasons why you might also prefer to think Maglor doesn't die. Maybe you just like him and it would be too sad if he dies; maybe you ship him very specifically with someone born in the Second Age; maybe you just want Elrond to have one thing left after everyone he's lost. I didn't include these in the above list because that was attempting to focus more on literary reasons why Maglor's survival makes for a better story, but they are all so valid and I agree with all of them! But hopefully Points 1-4 can be emphatically whipped out the next time someone implies that the fandom is clinging to Maglor's survival for solely sentimental reasons. There are good, solid grounds for wanting Maglor to live, we promise! It actually improves the story!

you're just jealous our blorbo survives and yours doesn't—

[anghraine]

I forget what the opposite of strawmanning is called, but it's like ... I don't doubt that Tolkien genuinely disliked feminism, I just find it rather odd that his way of addressing this in his work seemed to be writing bitter, hard-edged, and incredibly eloquent women who give fantastic speeches about being fucked over by patriarchy. And either there's no real response from other characters or the response is deeply underwhelming, so I'm like ... okay, what are you even trying to do here?

These women are also usually very beautiful, in the interests of full disclosure, so you get all these ... like, tall hot women who do not fear pain or death!!! and are full of towering resentment at very real injustice and/or suffering. The details and nuances of these characters are quite different, but these characters obviously represent a type that Tolkien found compelling and kept returning to without really finding a solution to the problems these characters raise and pose.

I've read a lot of female characters by a lot of authors, and maybe it's just because my personal taste in female characters is really similar to Tolkien's, but few things click with me so much as Éowyn's speech to Aragorn, or Erendis's to Ancalimë, or Andreth's and Morwen's... everything, or even the shorter defiant responses we hear from Haleth, Aredhel, Niënor, Galadriel. There's even a trace of this with someone as improbable and deliberately unlikable as Lobelia Sackville-Baggins, who confronted Saruman's men, survived imprisonment, and tottered out to hobbit glory.

I don't know, really. Maybe giving angry female characters kickass speeches was as far as he was willing to go with them. And to go by his favored types in male characters, he did have a taste for proud, attractive, talented, often abrasive, and hubristic characters regardless of gender. But it's not only a general type, IMO, when you've got a bunch of these women talking about gender specifically and its impact on them, so—I don't know, sometimes I just shrug and get on with my fandom life without trying to navigate the quagmire of intent. But it's definitely a question I return to.

So there's no real conclusion here. I guess I'll just leave you with my personal favorites! Here's Éowyn's response to Aragorn:

"All your words are but to say: you are a woman, and your part is in the house. But when the men have died in battle and honour, you have leave to be burned in the house, for the men will need it no more." (LOTR 767)

But also Erendis, my love:

"...Númenor was to be a rest after war. But if they[men] weary of rest and the plays of peace, soon they will go back to their great play, manslaying and war. Thus it is; and we are set here among them. But we need not assent. If we love Númenor also, let us enjoy it before they ruin it. We also are daughters of the great, and we have wills and courage of our own. Therefore do not bend, Ancalimë. Once bend a little, and they will bend you further until you are bowed down. Sink your roots into the rock, and face the wind, though it blow away all your leaves." (Unfinished Tales)

[polutrope]

hiii! 1 and 10 please! :D

A fanon characterisation that you love

I like what the fandom has done with Caranthir and I've definitely been influenced by it in how I write him. Fanon has taken a one-dimensional angry guy and made him compelling: cranky but sensitive, hardworking, independent... and sexy. I also enjoy the way he's typically presented in fanart.

10. A popular character you actually really like and why

No secret here. Maglor.

Short reason: He is the embodiment in one character of so much of what I love about Tolkien's works. Difficult to explain in few words, but for example:

He's a singer and storyteller, someone who carries history and tradition, a theme that is central to Tolkien -- I mean, the stories themselves are presented as part of an in-universe tradition that Maglor (composer of the Noldolante) is literally a part of. That makes me insane.

Oversimplification here, but among a crowd of doomed characters, he seems to believe in choice (let's break the oath), and in taking a leap of faith (maybe we'll be forgiven) at the end; he seems to have a kind of estel ("Then let us be glad, for its glory is seen now by many.") He throws the Silmaril away (this also makes me insane). He decides to stop killing and to nurture instead. To me, these actions come together to demonstrate that kind of radical hope that defines so much of Tolkien.

The Sea. Capital S. That's it.

I know I'll go off about how he's not all soft and good (and he's not), and I'll drag him for being delusional, complacent, and a procrastinator, but the truth is I have decidedly accepted the narrative's invitation to feel pathos for him.

Long reason: I wrote 10k words about him here, there's not much more I can say 😁.

[Spread Love Asks]

[hollowwhisperings]

that awkward moment where you re-read a crack post only to find that you accidentally edited out the "crack" part.

i'm sorry hugo weaving: it's not your fault they used the character you played to make drama for "character growth". > _ <

additionally must i apologise to:

Fans of the Live-Action Adaptions, old and new, whose introductions to the Legendarium through said works has undoubtedly gifted us all with new friends to nerd out with.

Fans of the above who met the books first & nonetheless enjoyed the motion picture: adaptions allow us all to better analyze our own, personal readings of "canon" through new perspectives. The Legendarium's uses Adaption (in the form of "Translation" to ENG) as its Framing Device: contesting canonicity is Encouraged within the text itself (which paints itself as "unreliable").

Hugo Weaving, for acting the role as it was written for him (no matter my Opinions on Said Writing): apparently Aragorn & Arwen needed a Direct Antagonist to "grow" from.

the employees of Weta Workshop, who did incredibly meticulous work for Tolkien's Legendarium (& continue to do so).

Sir Christopher Lee, who fully conveyed the Might & Majesty of the Wizard Saruman and wielded fully his Greater Experience (with Tolkien's works, stabbing people & just ~generally~) for the bettterment of LOTR's production. The good Sir rests now in Valinor but is ever One Of Us.

Sir Ian McKellan, for his fearsome & canny portrayal of Middle-Earth's Most Persistent Busybody. He has ever been "Mellon" to Fans & Fandom.

Cate Blanchette, who embodied "Galadriel" in all her beautiful glory: she ascertained the power of the character, subtle and fearsome and ancient. Her Graceful Swooshing of The Big Swishy Sleeves prompted my younger self into gaining an interest in the films at all (& thus Those Books I Forgot I Had). If I ever successfully sit through all three films, I'd gladly argue for her place as an Honary "Great" of Chinese Fantasy Dramas (LOTR isn't xianxia but it certainly resembles it in some parts, at least with its Immortals).

Viggo Mortensen, whose castmates found in him a "Strider" worth following, and who has everafter provided the Tolkien Fandom with its very own Cryptid.

Kiran Shah, for whom we can thank wonders untold in the cinematic Legendarium, in his roles as Frodo and Stunt Actor for all four hobbits. Rightfully was he named "Lord of the Scale Doubles" by his castmates: his laurels are well deserved!

Shah's Fellow Doubles in the LOTR films¹, who have long shared in his obscurity: I have added Footnotes that name The IRL Fellowship in its entirety, as best I could ascertain (corrections welcomed!).

Sophia Nomvete, who suffered first and worst in the Racist Backlash against TROP (her image amongst the very first released in Amazon's Promotions): she is beautiful in the role, even in her beardlessness.

the remaining POC cast of TROP, in its first season & those upcoming: they trailblaze against everything set against them² and I collate them in hope that "Tokenism" become a thing of fable... but mostly because TROP has enough of Us in its cast them to make "namedropping" the work of a paragraph (to which i say: took you long enough, Hollywood).

Alex Tarrant & Kali Kopae: they, amongst others cast as "Numenoreans" in TROP, are the first Polynesian actors to star in Tolkien works with their own faces³. They carry with them the Weight of Legacies, fictional and truthful: may the writing do they & their characters justice.

every & anyone who sets the Legendarium to Song, its "truest" incarnation by a Watsonian's metric. yes, even those responsible for the whole "they're taking the hobbits to Isengard!" meme.

Footnotes below the cut: there I touch on Prejudice & Politick, as found throughout Tolkien works: Racism is the primary focus (Anti-Semitism is tied-therein, made "implicit" because This Is Tolkien afterall) though I make reference also to Ableism.

¹The IRL Fellowship of the Ring: Doubles & All

Frodo Baggins was played not only by Elijah Wood but by Kiran Shah, who doubly served as "Size" & "Stunt" Double for Wood.

Sam was played by Sean Astin (principal), Bhoja ‘BK’ Kannada (size) & Kiran Shah (stunts).

Merry by Dominic Monaghan (principal), Martin Lenisson Gray (size) & Kiran Shah (stunts).

Pippin by Billy Boyd (principal), Praphaphorn ‘Fon’ Chansantor (size) & Kiran Shah (stunts).

(Yes, Kiran Shah was apparently the stuntsman for all of the hobbits: finding this out required my reading of More Recent Journalism, as Wikis only credit their principal actors & size doubles in the roles, with Shah's stuntwork credited only generically in-film & in wikis)

Gimli was primarily played by Brett Beattie but, despite Some Effort from his colleagues to confer co-crediting, only John Rhys-Davies was named in main billing ("movie politics", apparently). Beattie was initially cast for stunt & scaling work, but soon became a full-time "stand-in" for much of principal photography (Davies was Infamously Allergic to the Gimli Prosthetics, which restricted how long he could work).

An Aside: I remain personally ??? at why the production bothered to cast anyone, only to give them a full-face of prosthetics. The prosthetic wig & facial hair? Yes: modern beauty standards made it unlikely that a "fully haired" actor would be found for the role. The prosthetic nose, forehead & [whatever else] too? Those served no narrative purpose save, perhaps, an idea that "dwarves should look Old and [conventionally] Unattractive". This is my conclusion upon recalling the general "effect" of Gimli's changed characterization in the films & PJ's Pointed Rejection of casting "little people" in principal roles to begin with.

Legolas was played by Orlando Bloom (principal), Paul Randall (size) & Morgan Evans (stunts). Though Evans was only credited as Legolas in Fellowship, given that the entire trilogy was shot together, it can be Assumed that Evans retained the role as theirs is the only name that came up.

Aragorn was played by Viggo Mortensen (principal), Paul Randall (size) & Kirk Maxwell (stunts).

Gandalf was played by Sir Ian McKellen (principal), Paul Randall (size) & Basil Chapham (stunts). Chapham was credited as a "riding double" (or otherwise under "stunts"). A photo exists of all three Gandalfs in costume together: it's adorable.

Boromir was played by Sean Bean (principal), Paul Randall (size) & Lance Louez (stunts).

Paul Randall did indeed play as Legolas, Aragorn, Gandalf AND Boromir. Though I could only found him specifically credited as Legolas, interviews & cast photos do indeed name him as a "Stand-In" for all four roles. At 7"1, Randall could be used to scale "Big Folk" into scenes with the principal hobbit actors.

²Hollywood Racism in Fantasy Film Casting: Watch This Space?

We all Cringed at the blatant yellow & brownface of the Live-Action "Avatar the Last Airbender" film. The author of the Wizard of Earthsea series has long battled for its primary protagonist, Ged, to look like himself on book covers: he came to adaptions "pre-whitewashed" (to the great frustration of his creator, writer Ursula K. Leguin).

While there is no Public Ado About TROP from its BIPOC cast, save their grace in the face of Racist Backlash, Amazon's making the series at all was inspired by the success of HBO's Game of Thrones. The nature of Streamed Media is something currently protested: actors & writers own nothing they make, can say nothing of their work nor on its reception, and this has yet to Change for the begger.

Those Aware of how GoT handled its canonically POC characters (the Dornish, the peoples of Essos & the Summer Islands) are likely Aware of its Incredulous Killing-Off of the only black woman in its primary cast (Missandei, adapted to screen as an adult woman). Missandei's actor, Nathalie Emmanuelle, has been Very Diplomatic in interviews on her experiences while filming & later watching the show.

Additional instances of how racism has affected more recent Big Budget Fantasy Productions, "internally" (through casting & writing choices) and "externally" (racist backlash against adaptions & actors) can be found in the Star Wars sequel trilogy (Disney) and the televisation of Neil Gaiman's "American Gods" (Freemantle). Kelly Marie Tran (Rose Tico, SW) & John Boyega (Finn, SW) have spoken on their respective experiences with both (both went on to work on other Disney projects but Disney is its own Balrog) , while Orlando Jones has spoken of the racial discrimination within the production of American Gods.

The ongoing Writer's Strike is Informative on the limits of speech imposed on those working on Streamed Media such as TROP, writers & actors both. While TROP's 2nd season had already "wrapped" prior to the Strike, its production team & cast are still very much affected it: their speech is policed, by contractual obligations & self-preservation. Many of TROP's cast is "fresh": they do not have the clout to break convention, especially those acting as "trailblazing minorities" & whose continued employment is more vulnerable for it.

³The (Accidental) Diversity of the LOTR film trilogy & its (Deliberate) Othering of its BIPOC

PJ's films are sometimes joked as being (very long) tourism ads for New Zealand: the islands had been "cast" as Middle-Earth, something retained in pop culture ever since.

To fill out the wide landscapes of Middle-Earth required more cast than Hollywood could affordably export: thusly was casting opened to the local populace. This is how PJ's LOTR films' were made Accidentally Diverse.

Much of the Cavalry in the LOTR films (all those extras on horseback) were IRL Eowyns: the majority of the locals with the horsemanship the production required turned our to be female. Given that entirety of Eowyn's Plotline requires gender-exclusion in Rohan's armies? All those female riders in the background were "disguised" with beards.

Lesser known (certainly less publicised) is the quickness of the LOTR production in deciding which local New Zealanders would be cast & in what roles: a myth of whiteness in "New Zealand as Middle-Earth" was actively chosen at every opportunity.

Tolkien's Imperialist Guilt kicked in, eventually, for his depicting the Enthralled Armies of Sauron as... IRL peoples traditionally colonized (in many cases enslaved) by European Powers. He'd accidentally-on-purpose written "reverse racisn" into Middle-Earth. He'd also depicted & decribed orcs with much of the dehumanizing rhetoric used against peoples of African. This prompted both White & Catholic Guilt in his personal writings (...that never made it into printings of the Legendarium).

Decades later, when filming a big budget live-action adaption to Tolkien's Legendarium, the Production (Peter Jackson definitely included) decided that all their visually BIPOC extras should be cast exclusively as... Orcs and Foreign Invaders of Middle-Earth. Y'know: the very same Enthralled Armies of Sauron that had so troubled the Professor (very belatedly) for the Blatant Racism of it all.

Amongst those Visually BIPOC persons cast as Foreign Invaders? Just about everyone who was Maōri: Maōri, the very people native to "Middle-Earth", and a country that was very much colonized by European Powers (there were also some Attempted Conquest, though "there were no New Zealand Wars" was still the "historical canon" taught during LOTR's filming: mayhaps that explains how the Irony went unrealised).

I will note that it's been twenty-ish years & several more films yet we're still waiting on PJ to have his Belated "Crisis Of Conscience" RE: Racism. TROP, at least, cast its Maōri actors as Proper Numenorean Conquerors so... progress?

[kitts-mechanix]

JRR Tolkien said in an interview, about LOTR, "Well, it is meant to be escapist, 'cause I use escapism in its proper sense, of as...a man getting out of prison." and “Fantasy is escapist, and that is its glory. If a soldier is imprisoned by the enemy, don’t we consider it his duty to escape?…If we value the freedom of mind and soul, if we’re partisans of liberty, then it’s our plain duty to escape, and to take as many people with us as we can!” 

I know damn well we live in a dystopia every waking day. I live in country that is basically communist/fascist at this point. Why should I not be allowed to want to escape from this hell, if only for a little while, through fiction? Something that gives me a distraction, or inspires me to be kinder and stronger? I only have one life, and once it's gone, it's gone and never coming back. I want to enjoy it despite all the evil and horror going on in the world. There's a time and place for political talks, and fandoms ain't it. Make a space for politics outside of it if you must. But let me enjoy my fandoms in peace and escape this horrible reality, if only for a little while. Let me consume fiction and enjoy characters who inspire me to be stronger and kinder and braver during these dark times.

I am actually begging some people to just let some spaces exist untouched by real-world issues and horrors.

Like I've lost count of the amount of times peaceful game or fandom servers have been ruined by people stampeding in with political rants, bitching about world issues, demanding internal activism, demanding vent channels so they can whine about their shitty parents, ect.

Like. Respectfully. Not every single space has to be inclusive of and welcoming of outside topics. The real world sucks. We don't needed to be reminded of that absolutely everywhere.

[ao3feed-thehobbit]

first thing we'd climb a tree (...and maybe then we'd talk)

read it on the AO3 at https://ift.tt/wKzsjFI

by MindyMN

After the Battle of the five armies, all the pieces and tidbits that once upon a time represented Erebor's strength and finesse are being slowly picked up in an effort to return the kingdom to its former glory. Eventually, that also entails ensuring Durin’s line will not come to its end. You are the princess of Nurava, a dwarven kingdom with a shameful past and barely any prospects of having allies. It makes no sense you’re being considered to marry Prince Fíli, the heir to the throne of the kingdom of Erebor, but the letter doesn’t lie. You never felt the Longing you'd heard so much about, never been really in love and as much as you would like to hide that fact, it bothers you and has hardened your spirit throughout the years. But duty is a duty and if you threw away saving your kingdom for having something you might have zero chance of ever finding, you would have never found a way to live with yourself.

Words: 7165, Chapters: 1/?, Language: English

Fandoms: The Hobbit (Jackson Movies)

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Categories: F/M

Characters: Original Female Character(s), You, Fíli (Tolkien), Bilbo Baggins, Original Male Character(s), Thorin Oakenshield, Kíli (Tolkien), Tauriel (Hobbit Movies), Dís (Tolkien), Bofur (Tolkien), Bifur (Tolkien), Bombur (Tolkien), Óin (Tolkien), Glóin (Tolkien), Dori (Tolkien), Nori (Tolkien), Ori (Tolkien), Balin (Tolkien), Dwalin (Tolkien)

Relationships: Fíli (Tolkien)/Reader, Fíli (Tolkien)/You, Minor or Background Relationship(s), Bilbo Baggins/Thorin Oakenshield, Kíli (Tolkien)/Tauriel (Hobbit Movies)

Additional Tags: Alternate Universe - Canon Divergence, Alternate Universe - Everyone Lives/Nobody Dies, Post-Battle of Five Armies, Arranged Marriage, Angst, Fluff, This will probably turn sappy really quick, No beta we die like my heart after BOTFA, Dwarven Ones | Soulmates, Other Additional Tags to Be Added

read it on the AO3 at https://ift.tt/wKzsjFI

[ao3feed-tolkien]

first thing we'd climb a tree (...and maybe then we'd talk)

read it on the AO3 at https://ift.tt/gqJescE

by MindyMN

After the Battle of the five armies, all the pieces and tidbits that once upon a time represented Erebor's strength and finesse are being slowly picked up in an effort to return the kingdom to its former glory. Eventually, that also entails ensuring Durin’s line will not come to its end. You are the princess of Nurava, a dwarven kingdom with a shameful past and barely any prospects of having allies. It makes no sense you’re being considered to marry Prince Fíli, the heir to the throne of the kingdom of Erebor, but the letter doesn’t lie. You never felt the Longing you'd heard so much about, never been really in love and as much as you would like to hide that fact, it bothers you and has hardened your spirit throughout the years. But duty is a duty and if you threw away saving your kingdom for having something you might have zero chance of ever finding, you would have never found a way to live with yourself.

Words: 7165, Chapters: 1/?, Language: English

Fandoms: The Hobbit (Jackson Movies)

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Categories: F/M

Characters: Original Female Character(s), You, Fíli (Tolkien), Bilbo Baggins, Original Male Character(s), Thorin Oakenshield, Kíli (Tolkien), Tauriel (Hobbit Movies), Dís (Tolkien), Bofur (Tolkien), Bifur (Tolkien), Bombur (Tolkien), Óin (Tolkien), Glóin (Tolkien), Dori (Tolkien), Nori (Tolkien), Ori (Tolkien), Balin (Tolkien), Dwalin (Tolkien)

Relationships: Fíli (Tolkien)/Reader, Fíli (Tolkien)/You, Minor or Background Relationship(s), Bilbo Baggins/Thorin Oakenshield, Kíli (Tolkien)/Tauriel (Hobbit Movies)

Additional Tags: Alternate Universe - Canon Divergence, Alternate Universe - Everyone Lives/Nobody Dies, Post-Battle of Five Armies, Arranged Marriage, Angst, Fluff, This will probably turn sappy really quick, No beta we die like my heart after BOTFA, Dwarven Ones | Soulmates, Other Additional Tags to Be Added

read it on the AO3 at https://ift.tt/gqJescE

[i-did-not-mean-to]

Where to now? - Part II

So, here goes the second part, based on your choices in this poll!

As soon as you pass the first row of trees, a figure detaches from the shadows. Tall as a tree, they incline their strangely luminous head—crowned by golden horns—making you gasp softly. “Little one,” they greet in a melodious whisper. “We’ve been awaiting you! The Lord and Lady would love to hear your tales…” Before you can decide, a flash of silver crosses the edge of your field of vision. “I see others have sent out messengers,” the strange being, clad in soft furs, grumbles in dismay. “You are, of course, free to visit Curufinwë and his unholy brood first, if that is your desire.” In the distance, the mournful song of a lone lyre catches your attention; the music is ebbing and flowing like a faraway ocean, and your heart aches with yearning. “It seems that even the girdle of Melian would relent for such a guest of honour.” Increasingly disgruntled, the enchanting vision whistles, and a blindingly white horse trots closer. “Choose,” they purr, wrapping one of the warm, silken furs around your quivering shoulders. “You shall be safe no matter where your steps lead you!”

[apoloadonisandnarcissus]

On Galadriel’s Whitewashing by the Fandom

Allow me to rant. Because at this point I really have to ask this: what show have you all been watching? Many say that Sauron deceives the audience, but it was actually Galadriel who deceived you all, really.

In Season 1 and Season 2, we saw Galadriel using others left and right, for her own ends (including Halbrand, Míriel, Adar, etc.). Her character introduction in Season 1, was her beating the sh*t out of some kids over a paper boat. Then, we saw her treating her companions’ lives as if they meant nothing to her. This alone should tell you something, but no, you wanted to see the “feminist hero” that never was. She was acting like... Sauron, when he ditched the humans on the raft. 

Nah, you think?

Throughout Season 1, she was arrogant, high on herself and downright offensive to pretty much every character she came across. She was constantly acting as if she was better than everyone else, and others were beneath her, because of her delusions of grandeur. She disobeys Gil-galad over and over again because she doesn’t truly recognize his authority. He’s younger than her, and in her mind she’s the one who should be High Queen of the Noldor, because she’s the only surviving child of High King Finarfin. She lied and manipulated others to her own ends... like Sauron.

When your ways of manipulation are more radical than Sauron’s.

Allow me to say this once more: “Rings of Power” has Tolkien experts to assist with the writings of the scripts. Christian doctrine and preaching is a huge deal on Tolkien’s work, and even if the show producers don’t see it or don’t recognize it, it’s still there because it’s inevitable, you can't work Tolkien without it.

What does this mean? Galadriel is not a hero. Pride and greed are not good traits in Tolkien lore. She’s not one of the “good guys”. Not yet, and she’ll only get worse before she gets better. She’s not a villain, either; she’s an anti-hero like Adar. Why do you all think Satan’s little helper Sauron got so interested in her, in the first place? 

When Sauron of all characters gives you the side-eye and tells you to chill and tone down your antagonistic behavior.

And was she deceived by Sauron or did she deceive herself? Because Elrond, as usual, is right, and that’s why he calls her out on her bullsh*t in Season 2: Galadriel wanted the lost king who could ride her to victory, to destroy Sauron and cover herself in glory, being worshipped by everyone on Middle-earth as its savior. She wanted to use Halbrand as a pawn in her big plan, and it’s mind blowing she actually fell in love with him. Does this ring any bells? It’s because it’s Sauron’s plan, too. They are alike. Everyone agrees, but doesn’t realize just how much.

You think they showed us these glorious shots of them for “good” reasons? This is the first of Mairon’s deceptions on Season 1, another step closer to evil and his old ways. This is them high on power and on themselves.

Gil-galad foresaw that Galadriel would bring back Sauron if her pursuit for him would to continue. That’s why he sent her back to Valinor, in the first place. Guess what? He was right. It was Galadriel’s actions that condemned Middle-earth to Sauron’s tyranny. In the legendarium, the Elves are also the ones to blame. And what consequences did she faced for this? Enduring Elrond in charge for two episodes until she went rogue? Or perhaps the Valar have already banished her, and the show failed to mention this. 

Preach it, brother!

Elrond was also the only character who could see through Sauron’s “rings of power” masterplan (must be that Melian’s Maia blood kicking in), until he was deceived himself, as well, and now he also thinks the rings are a good thing. Because these rings allowed the Elves to “cheat death” and stay where they don’t belong. “Rings of Power” made this point very clear in Season 1: the Southlanders don’t want the Elves on their lands, they are invaders.

In truth, all of these characters are not only Sauron’s accomplices, but are feeding off his power, but they are acting as if they are the “good guys” here, and they need to save Middle-earth from the new Dark Lord. No wonder the Valar told them to f*ck off, and only sent a few helpers who didn’t even dealt with Sauron directly, even though they (being Maiar themselves) had the power to do that.

Long story, short: for the love of Eru, stop whitewashing Galadriel’s character, or believing her to be some sort of “Virgin Mary” nonsense type of character. Or if you actually think her behavior is somehow heroic I don’t even know what to tell you, honestly. Because it’s not suppose to be. And if you were upset with her “toning down” in Season 2, oh boy, I might have bad news for you.

We should appreciate Galadriel’s character for what it is; an anti-hero seeking redemption. She f*cks up a lot, is flawed, and makes huge mistakes, and that’s what will make her character arc feel earned and compelling. In that way, she’s the opposite of Sauron; as he falls into evil, she raises up to good; the Lady of Light and the Dark Lord. This is actually refreshing in the midst of so many boring-ass one-dimensional female characters we see nowadays, an ideal of perfection no one can relate to.

[suddenlystolen]

Hi! I discovered your name metas and am hooked. (Maybe it’s my background in Tolkien fandom - I can’t resist this stuff.) I saw you allude to the character arc in Jiang Cheng/Wanyin’s name. Have you written more fully about him? Or do you plan to? :3

Hello fellow Tolkien fan :D There are already a good handful of name metas for Jiang Wanyin out there, which is why I just casually alluded to Jiang Cheng/Wanyin’s character arc being embedded in his names in one of my metas. But I’ll just throw out my very quick take on his name, while trying to focus more on where my interpretation differs from what’s already been written.

Jiang Cheng (江澄)

Cheng 澄 refers to waters that are clear because they are tranquil. Jiang 江 itself means river. This image of clear, still river waters…isn’t it the opposite of Jiang Cheng’s nature and the course of his life — that is instead so turbulent?

From, his youth he’s pitted against Wei Wuxian by his own mother, feeling inferior to him as well as less deserving of his own father’s love. Then, since the seminal tragedy of the Sunshot campaign, he loses almost everyone he ever loved in his family except Jin Ling. He’s burdened with the duty of bringing the Jiang Sect from the brink to its former glory. Through it all, he’s deceived time and again. The waters are muddied for him so he’s more easily taken advantaged of, or as the saying in Chinese goes, 浑水摸鱼 — muddy the waters so you can capture the fish. The deceptions he’s caught in are born both out of goodwill (such as Wei Wuxian lying to him about his golden core), but also out of ill-intent (such as the circumstances of his sister’s death). Thus, it’s lies that Jiang Cheng lives by for the longest time. It is only at the end of the story that Jiang Cheng gains any sort of clarity about the arc of his life, and the motivations of the people around him. But it feels almost excruciatingly ironic — because by the time the dust has settled the damage has already been done, especially to his relationship with Wei Wuxian… Jiang Cheng can thus feel very poignant as a personal name…

Jiang Wanyin (晚吟)

Then his courtesy name — Jiang Wanyin 晚吟. Both words have multiple meanings. Wan (晚) means late or night. Yin 吟 has more meanings, and I’ll get to them one by one.

The most common interpretation I’ve seen of the courtesy name Wanyin, reads the word yin 吟 the way I think it is more commonly used — to refer to a moan or a groan, typically in pain or regret (as in the phrase shen yin 呻吟). Altogether, it would mean groan of the night, or a late groan. Perhaps at the end of MDZS, Jiang Cheng is full of regret that cannot be truly put into words, only let out in a sound.

Thus, where wan 晚 is interpreted to mean night, the image is of him crying out in a sleepless night.

Alternatively, where wan 晚 means late, it’s almost an indictment of his choices in his life — where by the time he knows to feel regret, to bemoan the decisions he made at critical junctures — it is already too late to salvage things, especially with Wei Wuxian.

But that begs the question — what did the person who gave Jiang Wanyin his courtesy name actually want for him? Surely neither Jiang Fengmian or Yu Ziyuan would give him an inherently tragic name.

This brings us to the other literary meanings of yin 吟, and how wan yin 晚吟 is used in premodern chinese poems.

Yin 吟 can also mean to chant or recite with rhythmic cadence — as in the phrase yin song 吟诵.

Or yin 吟 can be like onomatopoeia for the crying sound made by insects or the wind. Yin feng 吟风 for instance is the cry of the wind.

(One day I might get around to trying to translate a number of ancient chinese poems that use the phrase wan yin in these different ways, if it helps conveys the image of it better).

At any rate, 晚吟 wan yin is found as a phrase or even in the title of poems that are more subdued, wistful, contemplative; or even melancholic and regretful, because of the connotations of nightfall.

My personal theory is thus that the courtesy name Wanyin was given to Jiang Cheng to signify comfort through the vicissitudes of life — the way chanting or reciting a poem, or listening to the steady susurration of cicadas or the wind — can be a soothing accompaniment while one is staying up late. I’d interpret it as a realistic acknowledgement on the part of the giver of this courtesy name that there will definitely be dark times in Jiang Wanyin’s life. But also as their expression of hope that Jiang Wanyin will still manage to find some solace at the end of the day.

This, I believe, would be a kinder read on Jiang Cheng/Wanyin’s situation at the end of the story. He’s lost so much. But at long last his personal name has turned from a cruel irony to a reality — where now at least he has clarity and can move forward to fix things……and his courtesy name suggests he will be able to sustain himself through his newfound sorrows.

But yeah I would definitely be interested to hear other takes on why Wanyin might be given as a courtesy name :3

(PS: For those who can read chinese, this website is v useful for finding poems with particular phrases in premodern chinese poetry. Go knock yourself out looking for all the wan yins and the jiang chengs and how they’re used in different poems :3)

[elspethdixon]

The prompt for day 1 of Angbang week is actually Seduction and/or Adoration, but for some reason I got it into my head that the first prompt was “Worship.” So I spent several hours last night preparing both a photo set and some Sauron character meta around that theme.

I think the aspect of Sauron as high priest of the dark religion of fallen Númenor is often under-explored.

A lot of people interpret Sauron starting a Morgoth-worshipping cult under Al-Pharazon as entirely about building his own power, or as Sauron using the worship of Morgoth as a way to corrupt the Númenoreans in order to make them follow him, and ditto for the way the orcs are all made to worship first Morgoth and then, eventually Sauron himself. Or, if they’re Angbang shippers, they assume the sacrifices in Númenor were purely an attempt by a grief-stricken Sauron to resurrect/summon/contact Morgoth.

Both of those are equally valid interpretations (and you can easily opt for ?porqoi no los dos? and have Sauron motivated by both desires at once), but I think it would be really interesting for fandom to explore the idea that actually, it was all completely sincere and Sauron literally did worship Melkor as his god. Melkor is a vala, after all, and worshiping one of the Valar as your primary deity rather than Eru Illuvatar isn’t unheard of in Arda -the dwarves worship only Aule. And Melkor isn’t just the greatest of the Valar (from Sauron’s perspective), he’s also a prophet-like figure who “saw through” the hypocrisy of Illuvatar and the other Valar to find his own truth and create his own vision.

Whether you add a romantic element or not (I personally think there was definitely love there, and like to envision Sauron conducting gruesome human sacrifices in Númenor while giving off the same weirdly horny-for-god vibe as those medieval catholic nuns who liked to go on and on about how tasting Christ’s flesh during communion filled them with ecstasy, or that’s embodied in Bernini’s porntastic statue of The ecstasy of Saint Theresa), I’d like to see someone portray Sauron-as-religious-zealot, a Sauron convinced that Melkor’s guidance and influence “saved” him from an existence of blind, mediocre servitude and opened his eyes to the true nature of reality/power/creation. A Sauron who sees Melkor’s defeat and exile within the void as a form of martyrdom, something like an evil Christ-figure, who was persecuted at the ignorant hands of his complacent siblings and on some level sacrificed himself so that Sauron and his other most beloved followers might continue on. A Sauron who wants to conquer all of Arda not simply to rule it or destroy it, but to bring all its peoples into the dark light of the only true Vala, or else slaughter them as offerings to his dark glory.

I think, given the Catholic underpinnings of Tolkien’s cosmology, that a sort of Melkor as warped dark Christ figure/anti-christ (or technically Sauron as antichrist, since he’s the one presenting himself as a helper of mankind in Númenor only to lead people astray, a la the biblical antichrist, in a way that is probably not a coincidence) wouldn’t be that far out there as an interpretation of canon, and honestly, if the otherwise dreadful-sounding Rings of Power series happened to feature religious-zealot!true-believer!Sauron then I’d be willing to forgive them a lot for having a truly different/original take on the Dark Lord that no official adaptation had done yet. (They won’t, though, because if anyone on that show’s creative team was putting any real thought into it, then they’d have thought to get the actor playing Elrond a halfway decent long wig.)

[morwensteelsheen]

Aurë Entuluva

Lord of the Rings Secret Santa 2021

“Look,” says Aragorn at length. Faramir expects him to be looking at Ithilien too, but when he looks he sees that he is turned away from it, looking out over Anduin. Minas Tirith sits high and proud to the north, the shores of flowery Lossarnach to the west, and the northernmost reaches of Lebennin to the south. This is Gondor, as Éowyn has seen it for so many years. “Look,” repeats Aragorn. “This, too, is what has been wrought by her hands: for by her care and grace was Ithilien tended, leaving its Prince at liberty to care for all else that remained beyond it. Still there is work to do there, still there is beauty to bring forth, and glory to bestow.”

🌼On Ao3🌼

Fandom: The Lord of the Rings - J. R. R. Tolkien

Rating: General Audiences

Relationship: Éowyn/Faramir

Characters: Faramir, Éowyn, Merry Brandybuck, Pippin Took, Aragorn, Samwise Gamgee, Frodo Baggins, Gimli, Legolas, (background) Boromir

Prompt: Faramir gets to know the people who shared the last months of Boromir's life.

[evilelitest2]

I have an impression that some fandoms (like Lord of the Rings, Warhammer or Berserk) attract Alt-Right/Neo-Nazis a LOT more than other fandoms (like Song of Ice and Fire). Is this fact problematic for those fandoms?

Oh this question is difficult because I keep finding myself fans of things that Nazis also like, so a lot of my time is spent trying to drive them away from things that I like.  I’m a big Lord of the Rings and Berserk fan (not so much Warhammer) and Nazis showing up is a big problem.  I”m just going to talk through the examples you mentioned as to why Nazis like themt

Lord of the Rings has a lot of themes that Nazis are attached too, its has the conservative theme of loss of glory as things were great in the past and steadily degrade over time, morality as an absolute, a great war, and a largely male dominated story. Nazis tend to be attrached to very mythological stories which Lord of the Rings is, which is deliberatley written  Also the story is full of Catholic themes and imagery (though it is not an allegory cause Tolkien hated that.  Finally, Nazis have a huge fetish for Nordic/old Germanic history, and Tolkien was a Oxford Professor in Norse/Germanic mythology, and LOTRS is both Catholic and Pagan in a way that Nazis like.  So on a surface level the attraction makes sense.  however if you aren’t you know...stupid....then Nazi attraction to Lord of the Rings makes no goddamn sense

Tolkien hated the Nazis.  like he really really hated the Nazis, there is a great instance where he wrote a letter about how much he despises that the Nazis were ruining his field because people kept associating his work with the Nazis.  

Lords of the Rings is about a bunch of people of different races unifying and putting aside their bigotry in order to fight against a force of evil, with people who are close minded or intolerant being shown as bad.  No character in this work.  In the background of Lord of the Rings, one of the major reasons why Gondor fell from grace was that one faction of their monarchs were super into fantasy race science and tore the nation apart (which tolkien shows as bad) and the Numenoreans are British style Colonialists and that is shown as a bad thing.  

While Lord of the Rings has an almost all male cast, what is funny about LOTRS is how...unmaco the whole thing is.  War is not presented as glorious but a sad necessity, and the characters who love war inevitably fall (Feanor, Boromir, Thorin) while those who hate war do better.  Men are shown to cry regularly and are very emotionally expressive, and the book clearly values tenderness, mercy and softness more than traditionally masculine traits.  Unlike most works which lack female characters, LOTRS doesn’t feel like it is about marking an male only space, it feels like he just forgot to include them.  It is really telling that Tolkien was a Beowulf scholar, but his protagonist, rather than being a hyper masculine hero figure like Beowulf, is the sensitive kind and nonviolent Frodo.  

Its also worth noting that as a vet of the first World War, Tolkien doesn’t seem enamored with the glory of war, in fact glory doesn’t play much of a role in his books, war is devastating and scars those involved, Frodo himself can’t find peace due to his battle wounds 

Tolkien is really Catholic and as such there is a huge focus on forgiveness, mercy, and the inevitability of human failure and the importance sympathy.  He is less interested in the power of WILL as fascist works often are, and more about the acceptance of weakness as part of human nature, hence why no person can ever actually throw the ring away.  

Tolkien was also a bit of a Judeophile, he was really inter Jewish culture.    He was also anti colonial, anti Apartheid (he was from South Africa),   Tolkien’s work do have issues with race, but his issues were the anarchic views of race.  

Finally, Lord of the Rings, while it does have some parts of it that are problematic, is in many ways anti conservative.  It is nostlagic for the past, but characters who attempt to regain what has gone past (Elves, Sauron, Feanor) inevitable create more evil than if they had just accepted that the past is past and moved on.  Despite his drawing on Norse mythology, the story is not about a dramatic last battle, but living in a changing fading world.  

Berserk is...more complicated.,  Because while i’m a huge berserk fan, there are things in it that Nazis would like 

Firstly, Berserk is a very Nietzschian in philosophy, its about the power of will, individual struggling against destiny, Great Man narratives with most people being idiots, super grimdark, anti Christian context, a mythic story, its hyper masculine and its ultra violent.  And also quite sexist.

  Gust at first glance could fit a sort of fascist idealized version of a man, and if you only read like the first two chapters of Berserk you might see it as something which Nazis would like it.  Except what makes Berserk good is that it is beyond that, if it was just a violent power fantasy it would have faded with the 90s, what makes it good is when it moves beyond that sort of thing. 

 Even if you don’t read the story as a gay relationship between Guts and Griffith (and you are wrong if you don’t), it is about the self destructive nature of toxic masculinity, in fact that is what separates Guts from Griffith, Guts is able to start to move past his need to be cruel and open up, while Griffith doubles down and destroys everything he loves.  I have a lot of thoughts on Berserk.  

Warhammer Fantasy is complicated in terms of its relationship to fascism, if you are interested I can talk about that latter, but Warhammer 40k,while starting out as a punk anti totalitarian parody, has by this point become almost entirely co-opted by the Far Right in terms of fandom.    Because its a grim-dark parody of totalitarianism that nevertheless creates a world that conforms to a fascist world view, and while the Imperium of Man is an evil administration, it is also the one we are expected to sympathize with as our primary point of view characters.  

So it is really interesting that by a contrast, Song of Ice and Fire, despite being also a grimdark re-imagining of a popular genre, doesn’t really have a fascist fandom.   So here are the reasons for it.   

The story is pushing back against the mythologize of the middle ages that is so prominent in the fantasy genre, a mythologize that fascists themselves love.  Martin depicting medieval society not as a time when things were were simple and there was a clear image of glory war, instead it is shown as being just as murky politically as the modern day 

There are a lot of female characters and toxic masculinity is presented as bad.  Also lots of homosexuality 

Individual human will, while being a factor, is less important in the world of Song and Ice and Fire compared to the larger forces of history which are outside individual control

The story is explicitly anti Romantic and themes like “the Nation” The people” “Faith”  ect, instead all of these are shown as construct made by people

The story is also humanist, and avoiding both the absolute morality so beloved by fascists, but also it doesn’t really demonize people, most characters are shown as a mix of flaws and virtues.  

Interestingly some fascists do like Game of Thrones, but that is another matter.