Snow Elf culture?
*pulls up a chair*
Perhaps...
A wee disclaimer that I'm not particularly good or creative with developing cultures or societies, but my brain has just latched on to the snow elves in a way where I can't stop myself. But anyway
I developed a lot of this because of a big ass draft for a fic I've been writing on and off about Gelebor and Vyrthur, so a lot of my headcanons are religion heavy. I'll start there:
Gelebor seems to place Auri-El and the Chantry of Auri-El as having significant importance to the Snow Elves over the other gods/temples. He's probably got a bit of bias in that regard since he's devoted his life to Auri-El, but in order to differentiate their religion from the other elven ones I like to think that their religion in general worshipped Auri-El as not even just as the figure head of their pantheon, but almost monotheistical, while the other gods (Trinimac, Syrabane, Jephre and Phynaster according to Gelebor) were like minor divine figures or just legendary heroes even more than in Altmer myth, depending on the interpretation. My idea is that if their culture had been allowed to continue on, it would've eventually become monotheistic, but by the arrival of the Nords they were in a bit of an awkward transition period with it.
I also like to lean into the sun motif with Auri-El that they established in Dawnguard and with Auriel's Bow, partially because it's another thing to make their depiction of him more unique, and in part because it makes some very juicy irony for Vyrthur. Some ideas include:
- The more religious folk tend to pray at noon when the sun is at it's highest.
- The two biggest snow elf festivals happen on the summer and winter solstices. As far north as they are, the summer solstice is during a time of year where the sun barely sets and the winter one is during a time of year where it barely rises. The summer one is more jovial and celebratory, with a grand feast. With almost 24 hours of daylight, the festivities last up to three days straight, with folks commonly staying awake for over 24 hours. Most of it is spent outside, with the celebration being focused on making the most of the weather and daylight hours to spend as much time in the sun and the light of Auri-El as possible. The winter festival is as large scale but lasts longer and is lower-key. It also involves a feast but features more winter foods and meat and alcohol. It is more pensive. At this point in the year, there is no full daylight, and so this season is seen as a test of one’s faith and mental fortitude. This festival acts as a break from this trying time, taking time to relax, build community (a strong community will allow them to make it through the winter and strengthen their minds), and bond with family and friends. It is about a weeklong break, where leading up to the festival everyone works harder to prepare for it and allow themselves to have the break. There are activities and festivities, but they remain indoors for the most part and are smaller.
- I've referenced this before, but with long winters with little sunlight (due to harsh weather and short days), they see that time of year as a reflective test of will and faith.
Due to their proximity to dragons, it was hard to miss the connection between Auri-El (/Akatosh) and dragons, and so their depiction of Auri-El is either much more influenced by the iconography of dragons, or is a dragon (although their depiction of dragon Auri-El is much more benevolent than the Nord/Atmoran one). I got the idea for this one from this Reddit post (i know I dog on Reddit a lot but this one has got some fun stuff in it, even if it's a bit out there)
^On that note, later in the timeline (post Dragon War (the timeline is very fuzzy on when this and the Night of Tear happens. They are both sometime vaguely in the late Merethic Era I believe, but it's unclear which happens first or how long each conflict is)) some Snow Elves see a sort of unreturned, unofficial comradery with dragons, seeing themselves as both on the receiving end of the Nord's/Atmoran's brutality (disregarding whether it was warranted or not in the context of the Dragon War).
Ok here's some more general cultural ones:
I mentioned my reasoning for this in this post, but I like to think their general settlements were not as permanent, with a larger focus on wood and building into the sides of hills (good for warmth), while their temples tended to be made of stone and much more permanent. This is why there are so few identifiable Snow Elf ruins across Skyrim. Their cities and towns were easy to wipe out, scavenged for resources, or were in good places for Nordic cities (perhaps Bromjunaar was originally the site of a Snow Elf city?), and their temples were either very hidden (e.g. the Chantry of Auri-El) or eventually converted to Nordic temples.
I love this journal in general for gleaning ideas for Snow Elf headcanons for, but one interesting this is the use of "Old Ones" and "Young One". They're treated like established titles. From that I like to think they place a lot of emphasis on the respect of those older than you. The social hierarchy and whose opinions are most valued is heavily influenced by age. Folks call anyone older or more revered “Old Ones” as a term of respect, and anyone younger than them “Young Ones”. Old One is almost never used in a demeaning way, but Young One can be (not always). Typically, “Old Ones” is used in the third person (e.g. you wouldn’t refer to someone directly as “old one”) whole “Young One(s)” can be used as an epithet for someone directly or in third person.
When thinking about death/"burial" customs (needed for some scenes in the fic I'm planning), you have to consider that there probably wasn't a lot of land in a place like Skyrim where someone can be buried. Nords intern their dead in crypts or burn them to get around this, and I like to think Snow Elves participated in something akin to sky burials (at least sometimes). After preparation, the departed's body is left outside on a ledge, cliff, or the temple balcony to be scavenged by birds. This is seen as a metaphorical return to Aetherius, while their soul literally returns to it. They do this even in poor weather or deep winter. If it doesn’t thaw and rot/be scavenged until months later, so be it. The length it takes to rot is considered indicative of how long it takes for the spirit to let go and move on (not in a bad way though. It’s interpreted more in the way of the soul or body grieving). It's seen as if they may wish to wait until spring to finally rot if they want to experience one more warm, sunny day.
Food (I mostly wrote this in my notes in the context of the Forgotten Vale and Chantry of Auri-El, but I think it could work elsewhere as well to an extent): Plant-based food is grown in gardens in the spring and summer, and that that is able to be stored is carefully preserved through the fall and winter. Winter foods include some nuts, dried vegetables, and dried and preserved/fermented grains (like wheat, barely). These foods must be eaten slowly throughout the winter to last, and winter diets are more meat based. Summer foods include apples, cabbage/lettuce, leeks, tomatoes etc. Snowberries can be found in the wild out of season of most other fruits, and provide fruit in very early spring. Occasionally, fungus from caves is harvested, but this is seen as a delicacy (foreshadowing).
Ok, that's it for now. I gotta go to bed. Thanks for the ask!!!! :D
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I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then
SIGHS...
Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.
I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:
There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.
Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.
I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.
No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."
Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).
So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?
This is an extremely significant turning point dressed up as a dress-up scene.
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P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.
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