With all due respect, I've for some reason never seen the extended Fellowship of the Ring, and I'm dying at how much of a himbo Boromir is, because I love my son of Gondor, but Dear God.
"You are no elf." Nothing gets past you, Boromir.
"Then we are here on a common purpose... friend." My man did not come for diplomacy he came to make friends.
And I know both him and Faramir have like approximately five billion dreams in the books, but something about Sean Bean being like, ✨"I saw it in a dream"✨ is just so himbo-coded with how everyone is reacting to him, even though in Tolkien's Middle Earth dreams are like a legit source of information.
To be honest, the extended version of FOTR making Boromir a clear blunt tool trying to do diplomacy is so weirdly endearing that it's both humourous and just makes me think of Faramir in a library somewhere being like, "Why am I not the favourite again?"
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The Sylph/Witch and Character Arcs
The defining question for the Sylph/Witch is, “What is my purpose?”
You may have noticed at this point that I did not do the usual pairs of Heir/Witch and Sylph/Maid. The reason for that may seem silly, but I noticed that there are essentially three sections to all the classes (with the exception of the master classes). Classes that can be found outside of castle walls on a campaign or within the cities (rogues, thieves, knights, and pages). Classes that can be found within a castle either working or by birthright (heirs, maids, princes, and bards). And classes that are found far away from civilization and are only sought out in times of great distress (sylphs, witches, mages, and seers).
The other reason is the emotional journey that these classes go through. Sylphs and Witches must both travel through a point of extreme hopelessness --the dark night of the soul-- and are deeply affected by it, to the point that it changes their entire outlook. This in turn changes the trajectory of the story.
Setting
The Sylph/Witch lives in an untamed world that faces the possible annihilation of everything that they care about. Their world may be untamed wilderness with the Sylph/Witch encouraging the growth of civilization, or their world may be untamed because they chose the wild over civilization. But there is something threatening both the wild and the morals of the Sylph/Witch.
These classes live on the outskirts of other people’s lives. Centred and in tune with the world, but not with its people. When the horror first knocks upon their door, the Sylph/Witch may wonder if this has anything to do with them. They may believe more active classes will solve it with a little guidance, or that the problem isn’t such a big deal. However, only the Sylph/Witch has the power to protect their world from the oncoming threat. And only the Sylph/Witch has the wisdom to see the truth of the horror and accept it.
Internal Conflict
The Sylph/Witch must see that they still have value to the world. Even though all has been lost before the story even began, they must find their way back into the people’s hearts.
Once the Sylph/Witch embraces the world, they will see their own purpose and be able to keep moving forward.
External Conflict
The Sylph/Witch must face the forces of evil with the help of others. We will see that the horror is usually not a concrete antagonist, but a problem that appears to have no solution.
This horror is especially terrifying to the Sylph/Witch because it mirrors their deepest fears. Whether it is a nemesis long-past or a glimpse of their own future, the external conflict is something that the Sylph/Witch is convinced they cannot face. And it’s precisely because of this belief that this journey through the dark night of the soul will achieve the most amount of growth within them.
The Sylph
The Sylph answers their defining question with a shrug of the shoulders. “I have no purpose, and I intend to keep it that way.” Sylphs see themselves as outsiders, and merely an old fool, fetching the main characters and tagging along for the ride. They undervalue what they have to offer, and foist the responsibility onto other, more capable players.
They can fall into the hermit archetype, as they wander around in the wilderness focused on their own goals, unwilling to connect with others.
Examples
The first example is Kanaya Maryam from Homestuck. She faces the extinction of her species because there is no longer a Matriorb. She stays on the periphery of relationship dramas, mediating instead of playing an active role.
The other example is Gandalf the Grey from The Fellowship of the Ring. Gandalf senses evil in the ring that Bilbo found and intuits it will bring great devastation. He sets the hero onto the journey, but steps out of it, focused on his own goals. He thinks he cannot offer anything to the heroes except by running around in the background, handling logistics and behind-the-scenes. But Gandalf must face his fears and learn to fight on the front-lines protecting those he cares about.
End Goal
The Sylph’s goal is to find their purpose and face the horror for the greater good of the world. Whether that means seeing with clear vision what it means for the horror to triumph and rallying their comrades, or stepping up themselves and filling a role they are unaccustomed to, the Sylph must face their dark night of the soul in order to save their world.
Kanaya uses the powers of a Rogue of Void to spawn another Matriorb. She guides Roxy to find it, seeing with clear vision that the mother grub must be recovered. She also puts aside her own fears around romance by starting one with Rose.
(You may also notice that Kanaya is the only Homestuck character that I talk about in the “end goal” section. And that’s because she’s the only one that completes her class’ character arc.)
Gandalf faces the Balrog of Moria alone in service of Frodo's journey to destroy The One Ring. He faces his fears and grows from the experience, maturing into Gandalf the White and facing the forces of evil head-on, with renewed confidence.
The Witch
The Witch answers the defining question by insisting that they already know their purpose. There is nothing to learn, nothing to protect. They live for themself alone.
They can fall into the sorceress archetype (as though “witch” wasn’t already an “evil archetype”!). They will connive and steal and manipulate to get everyone else out of their way.
Examples
Jade Harley from Homestuck is a prime example. She is playful by nature and doesn’t take the threat of either Jack Noir nor Lord English seriously. She uses her magic for her own entertainment and her forceful personality often prioritises her needs above those of others.
Carl Fredricksen from Up is another example. He chases the dreams of his late wife, leaving everything he knows behind. He wants to ignore all the problems and people he meets along the way, focusing only on the goals he made with Ellie.
End Goal
The end goal of the Witch is to find a purpose in service of others and to face their fears with honesty. Just like the Sylph, the Witch shies away from the horror because they are afraid, but they mask that fear with a preoccupation on the self.
Carl stands up to Charles to stop him from killing Kevin the Himalayan Monal Pheasant. He faces the fear of death whether in body or in legacy with bravery. He accepts Ellie’s death and the end of Charle’s (as well as his own) era of adventure. The horrors of death, loss, and end of eras are just a natural part of life, and Carl accepts them with grace. Then, he goes on to pursue further adventures with new people he cares about, adding them to the repertoire of people he loves, never replacing.
Conclusion
The Sylph/Witch may live in an untamed world. But through their actions, they can find meaning and relationships within it. By the end of their story, the world will no longer be untamed, and they will no longer reside on the outskirts. The Sylph/Maid has found a way into the heart of their world, and they intend to stay there. They will find their own value, and finally face the horror that threatens their world. Through facing this horror, they realise it is not pure horror, but a wonderful opportunity. An opportunity to not only accept what has passed, but also grow from it.
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