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animasola86 · 5 months

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NSFW Hogwarts in the 1890s Headcanons

Convenient Plot Devices (to make my smut more believable)

(aka Nurse Blainey is a very supportive and progressive witch doctor!)

Every girl over the age of 15 (sometimes earlier) is required to take contraceptive potions as per request by Nurse Blainey who had to deal with horny teenagers and their lack of mind for consequences for too long.

Boys don't have to take them, but can if they are so inclined.

Very reluctantly, the recipe for that potion is taught by Professor Sharp in the Sixth-years' Potions class.

There are potions for every ailment (usually provided by Nurse Blainey), including aftermath soreness or the "potion after" if a witch/wizard forgot to take their contraceptive potion.

There were indeed condoms*, but not every wizard carried them, so the potions and/or a quick disappearing spell had to be used to prevent pregnancies.

*Condoms were usually distributed in barbershops in the late 19th/early 20th century (according to Wikipedia) so I imagine Madam Snelling selling them under the counter in her hair salon.

There is no sex-ed class in Hogwarts, but again, Nurse Blainey is the first to hand out informative literature* or reading recommendations.

The Restricted Section of the library has an entire room filled with erotic fiction, anatomical books and various guides to help out the eager witch or wizard.

*Informative literature included tips and guides for the uterus-bearing population on how to deal with bleeding. As early as 1890, probably even earlier, there was the "invention" of pad-belts/sanitary belts in Victorian England, those were re-usable and I can imagine even easier to use for witches because instead of cleaning them the old-fashioned way, they could just clean them with a swish of their wand. (Read more on the history of menstrual pads here if you're interested.)

Ignatia Wildsmith has seen more horny teenagers making out in front of her Floo flames than people actually using that way of travel.

Ghosts see a lot of things and mostly they don't care about it, unless they are Richard Jackdaw* who likes to stalk those horny teenagers more often than is appropriate.

*Shameless plug: I wrote a smut piece about our favorite horny ghost called The Horny Ghost (how creative).

"Silencio" is the most used spell in the dormitories, boys' and girls' alike.

Hufflepuffs are the only ones who don't have curtains around their beds! But I bet they can think of other devices to get some privacy. Maybe they're masters of the Disillusionment charm!

On that note: only Ravenclaws have their own in-house bathrooms - with actual bathtubs! Slytherins have to leave their common room, and Gryffindors and Hufflepuffs have to walk quite a while to find the nearest bathroom. [Correction: there are bathrooms, one with stalls, one with stalls and bathtubs, in the Gryffindor common room, but only on the girls' side! (Thanks to @mianeryh for pointing that out!)]

But this is a post about HCs, not actual fact/pointing out lazy game design, so I'd like to imagine that all houses have at least one communal bath/bathroom area very close to their dormitories.

*By the way: In the Slytherin, Gryffindor and Hufflepuff common rooms, the girls' dormitories are upstairs, so they have the stairs turning into slides whenever a boy tries to access them, whereas in the Ravenclaw common room, the girls have to go down the stairs and are "only" protected by two suits of armor guarding the way, which in turn makes it easier to sneak past!

Popular make-out places are: the boat-house, the underground harbor, the loft above the Great Hall, the kitchens (poor house-elves), the Prefects' bathroom, the Restricted Section of the library, any dark empty hallway, any empty classroom/storage room, the Undercroft and the Room of Requirement (if they know of them), ...

*Honestly: anywhere is possible in the large castle that is Hogwarts!

Let's talk fashion: we've all seen the HL undergarments of girls and boys, right? Here is an amazing guide by @tamayula-hl about period accurate clothing and their uses in smut writing, very informative!

So based on that I also believe that horny teenagers got tired of all those buttons and layers very quickly and learned spells to make the undressing easier, and/or used "Evanesco" to get rid of clothes entirely (and conjured them back afterwards) - though tbh, I, as a smut writer, don't care too much about how they get naked. They're wizards/witches, they have their ways!

My most used clothing device apart from simple spells: the convenient flap at the front of boys' breeches.

FANFICTION MASTERLIST - KINKTOBER - AO3

#hogwarts legacy #hogwarts legacy headcanons #hogwarts legacy smut #smut headcanons #headcanons #historical facts #hogwarts in the 1890s

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mako-neexu · 2 months

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im not an expert about serie but what makes frieren, as a mage, terrifying to me is the fact that she is what flamme said.

a mage of a peaceful era.

she said that neither serie nor her can ever hope to defeat the demon king. the literal monster far stronger than any of their kind that brought terror to every human breathing across the land. maybe serie could if she took on a quest like that, but she's ultimately a warmonger. a mage who cannot imagine a life without battle.

in the story's stance of magic, its a simple thing as shown in the exam arc: "Magic is the world of visual imagination."

for serie, the living grimoire whose view on magic is simply to kill, for flamme, the celebrated human mage living in an era where magic is only beginning to be accepted by humans and where demons overpowered humans and elves alike, they can't imagine a world of peace.

for frieren, however, her views on magic is that it should be free. freedom means being able to imagine endless possibilities using your mana and skills whether youre a novice or not. freedom is using the very nature around you to your advantage. freedom to imagine breaking a barrier said to be created by one of the most powerful mages in history, freedom to create a spell using her knowledge and will, freedom to shatter the impossibility and turn it into something possible and inspire those around you.

a peaceful era is possible. its within reach as long as you are able to visualize and make those visions come true. that's why frieren was able to defeat the demon king alongside himmel, heiter, and eisen. serie was limited with the view to kill while frieren wasn't hindered by that or anything because she loved magic. simply by letting a mage be free with their imagination and creativity can make waves across the world in ways people might call 'a miracle'.

#sousou no frieren #frieren eating up my brain dkjnfksjdbv

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animehouse-moe · 2 months

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Ryoko Kui's Daydream Hour

I am moving at a glacial pace with tidying up and editing the images of this art book, so I'm going to take a break and talk about Kui's incredible character design on Delicious In Dungeon, using elves here as an example

So, first of all, race-defining traits. With the elves, it's obviously ears as the first. But, Kui plays around with that far more and in an incredibly natural way. The size of their ears differs, the angle at which they protrude from the side of the head can be different, their rotation in terms of where the opening of the ear faces can change, and even the "pointyness" is unique to each elf.

It creates incredibly varied views and "styles" of elf within the world, and complements a lot more of the physical traits that reflect ethnicity in our world.

Take, for example, the hair of elves. In the vast majority of cases it remains blonde or silver/white, and is straight. As you can tell with some of the images, it's not always smooth or silky like some exhibit, but in the vast majority of cases, for elves that are pure elves, their hair is straight (potentially with some shape/volume as you can see with the gray-haired elf with green markings on their face).

Similarly, elves are shown to have characteristically blue or green eyes. Which begins to draw your attention towards an outlier.

This elf. The one with purple eyes. Immediately, you might think "oh, they must only be part elf", but Ryoko Kui was only laying a trap with that idea. This elf is certainly 100% elf, it's just that they exhibit traits that are heterogenous to how Kui's defined elves as a race.

The biggest outliers being the purple eyes, but then also the ears. Here's the thing though, there's not a race that strongly exhibits purple eyes throughout Ryoko Kui's work on Delicious In Dungeon. It's just that elves exhibit strong homogeneity in regards to eye color. A similar thing can arguably be said about the ears which may make viewers think something's up. They're certainly the smallest of the bunch, and the most rotated, but other elves also see aggressively rotated ears, just not to the degree that this one does.

If you want to talk about how the traits of elves mix with that of other races we actually have two examples. Marcille Donato, obviously, as a half elf and half tall-man, but also this other blonde woman with blue eyes.

We know of Marcille's heritage so let's focus on the woman on the right. The first thing that you notice as a heterogenous is her hair: it's wavy. It's a trait that's very much separate from Kui's depiction of elves. Similarly, the shape of the eyes betrays that much more narrow and sharp style.

Then there's also the ears, which are larger, noticeably shorter, more round, and most noteworthy are thicker.

With that last piece I'm sure many are thinking, "Oh, she has to be half Gnome!". Yes, the shape and size of the ears does very much fit Kui's style of Gnome (as does her height, I'll say more later), but let me show you a (bad and unedited) image of how Kui draws gnomes.

Their eyes are far more slanted and downturned. It's a very strong trait of the Gnomes, alongside their very prominent noses and hair that isn't noticeably curly or wavy.

So no, it's not Gnome, and I wouldn't say it's Dwarf either. My guess is that this woman is part half-foot. The smaller stature (yes, the headshot shows that she's shorter than the other elves), the curly hair, the shorter yet more prominent and thicker ears, the rounder eyes, it all speaks to similarities expressed by Half-Foot characters.

And I think that's really incredible. It's just a wonderful highlight of how thoughtful and creative Kui is with their character design, and how unique they're able to make a race.

At a glance, you can tell who's what, but they don't all look the same by any means.

That's something that's really driven home with Ryoko Kui's Daydream Hour, and something I really want to talk about more. Though, as you can tell, I've got a lot of work ahead of me to get images that are actually good and presentable, so we'll see when I'm able to squeeze out a proper post.

#ryoko kui #daydream hour #delicious in dungeon #dungeon meshi #dunmeshi #marcille dunmeshi #marcille dungeon meshi #marcille donato #delicious in dungeon marcille #anime art book #anime art #manga art book #manga art #anime and manga #anime #manga

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kylobith · 2 months

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The Languages and Linguistics of Middle Earth

Gin suilannon!

In the context of my minor programme in Celtic studies and languages, I am following a course called From Táin to Tolkien and Beyond, and today, we had a guest lecture about the languages of Middle Earth, more particularly Sindarin. Since it might be useful to some of you (out of curiosity or for your fanfictions), I thought I would share my notes and my conversations with the guest lecturer here. This was a very linguistics-driven lecture, so I will try to add explanations where I can and, hopefully, make the information more accessible. If you have any questions, you can react to this post or DM me! And beware, this is a very long post. So, without further ado, here is what I learnt.

✽ Notes on Historical Linguistics, Manuscript Tradition and the Languages of Tolkien's Middle Earth by Dr. Aaron Griffith

✣ Shared histories of languages and manuscripts are often visualised with tree diagrams to see the evolution and how they branch out

✣ Little material was published about Middle-Earth and the Elves during Tolkien's lifetime -> Most of it is part of the Legendarium -> Main periods of writing (here we only mentioned the writing processes or when a project was finished, not when they were published): - The Lost Tales (1916-1926): infancy of the Elvish languages - Sketch of The Silmarillion (1926-1930): revision of The Lost Tales and some changes brought to Elvish - Quenta Noldorinna (1930): further reworking and significant expansion of the sketch - The Hobbit (1933): originally intended as an unrelated story - Quenta Silmarillion (1937): fullest expansion of The Lost Tales and significant refinement of the languages - The Lord of the Rings (1950s): use of the mythology of all the earlier writings as a basis, reworking of the languages and massive changes in their interrelations - The Silmarillion (post-1948): based on Quenta Silmarillion, which was heavily revised after The Lord of the Rings

✣ Tolkien rarely dated his works and compositions, so it is difficult to establish a precise creative process or linear chronology of the changes brought to Middle Earth. However, he did leave us some clues: - Absolute Dating -> occasionally, Tolkien did attach dates to his manuscripts, but it remained a rare occurrence - Relative Chronology -> some compositions are dependent on changes to earlier works, so a logical chronology can be estimated (this can also be made possible by the scrap papers from Tolkien's personal records and drafts) - Handwriting -> can be misleading, but it can be a helpful tool to date pieces of distinctly different chronological layers - Nomenclature -> Tolkien frequently changed character names, so particular names can be matched with letters and extracts in which they appear - Christopher Tolkien -> his manuscript order from the twelve-volume The History of Middle-Earth series

✣ Critical asymmetry -> languages frequently split into dialects and other languages of their own, but when manuscripts are retraced according to their version of the same text (think of Arthurian romances and oral tradition being recorded at different points in time and therefore presenting different themes or characters), narratives (stories) cannot be regrouped as easily -> However, there are 2 relations between stories and languages: 1. How changes can propagate in a language system or narrative tradition 2. The relations of language families in real- (at the time of composition) or book-time (time as it passes in the stories)

✣ In natural language, change moves forward in time. This is a trend which also applies for errors in manuscript copies (irregularities in tropes, character changes, etc.)

✣ In stories, a plot development can be carried forward just like a sound can evolve in a language. However, change can occur backwards, too. For example, if a character's ancestry is modified, this can change the whole manuscript history of the story being written (by this, understand that the story must be readapted to fit the new information to maintain some consistency).

✣ Historical linguistics is concerned with the study of language change and the formation of language families (Romance languages, Germanic languages, Slavic languages, etc.). It does so by examining and comparing systems from different languages to see if they can be retraced to an original, common system (Welsh and Irish stemming from Proto-Celtic, for instance).

✣ Some of Tolkien's languages were intended to be related. The following languages and dialects are related in a clear, 'historical' structure, which mimics the way that languages evolve in our world: - Quenya - Sindarin - Lindarin - Noldorin - Telerin - Doriathrin - Ilkorin

✣ Elvish languages were constantly revised by Tolkien, making it challenging to determine a single 'history' (or creative process) of Elvish tongues. In their case, it is more accurate to speak of a series of histories or continua, which refer to the times at which Tolkien brought significant changes (often 1916, 1937 and post-1948). A tree diagram is thus no longer fitting to visualise them all. The diagrams overlap in a three-dimensional visualisation instead, with each layer representing the changes of each major revision.

✣ Some changes were brought solely for aesthetic purposes. Tolkien found the phonetics of Welsh and Finnish particularly pleasing to the ear and, therefore, based Sindarin and Quenya on their structures. As you probably already know, these are the two most-developed languages in the lore of Middle Earth, but he fleshed out at least four other Elvish languages (Telerin, Ilkorin, Doriathrin and Danian). There were generally more changes in Quenya (abbreviated Q).

✣ What was originally Noldorin (abbreviated N) in the 1916 and 1937 versions is now Sindarin (abbreviated S). After 1948, Noldorin became a dialect of its own, and its place in the language tree shifted. The terms and grammar remained rather consistent from one version to the next. -> example: 1916: N Balrog 'fire demon' (bal- 'anguish' + -róg 'strong') 1937: N Balrog 'fire demon' (bal- 'torment' + rhaug 'demon') 1948: S Balrog 'demon of might' (bal- 'might' + raug 'demon')

✣ Such modifications reflected the major changes brought to the stories (especially to what we now know as The Silmarillion), but they also mirror the natural linguistics evolution of real-life languages. This causes a problem, namely in the emergence of 'linguistic orphans', or words whose etymology was no longer valid because the linguistic or sound laws that birthed them in the first place were removed. -> example: Eärendil (Q 'lover of the sea', ayar- 'sea' + -ndil 'lover') 1916: eären was the genitive form (or possessive form) of eär, so the compound made sense. 1937: eäron replaced eären, but Tolkien remained particularly attached to the previous version because of the Old English éarendel -> this created a disruption in etymology, so he declared that eär/eären meant 'sea'

✣ Major sound changes introduced with The Lord of the Rings

✣ Tolkien introduced lenition in some grammatical cases. In Celtic languages, it is a rather common occurrence. It consists in the softening of a consonant at the start of a word according to certain rules. For example, the sound [p] is softened into a [b]. My knowledge of Irish is non-existent, but it is something which happens in Middle Welsh (c.1100-c.1400) and Modern Welsh. -> example: before 1972, Tolkien suggested that the name Gil-Galad ('star of brilliance', 'brilliant star') was lenited, which means that the second component of the name stems from the word calad (lenition causes the c to soften into a g). -> However, he stated in a letter in 1972 that lenition no longer occurred if 'the second noun functions as an uninflected genitive' (in other words, that the possessive is not marked with an apostrophe, 'of the', or any other marker that applied in Sindarin). This explains the merging of ost 'start' + giliath 'fortress' into Osgiliath 'fortress of the start'. If giliath was lenited, the name would instead be Osiliath or Ostiliath (when lenited, g disappears at the head of the noun). -> There is one noted inconsistency regarding the 'rule' above, and it is the case of Eryn Vorn 'Dark Forest'/'Forest of Darkness'. Eryn is a plural form of oron 'tree' and morn acts as a noun (but it is usually the adjective for 'black, dark' and morne is the noun referring to 'darkness, blackness'). Due to Welsh vowel change rules in certain plural forms, morn becomes myrn, and this very same plural form should accompany eryn (both adjective and noun adopt a plural form). Instead, we find a singular form of morn which is lenited (m becomes v). This is possibly an error accidentally left in by Tolkien.

✣ The nature of Noldorin/Sindarin makes Elvish languages rather realistic in their evolution compared to real-life languages, because irregularities occur. Dr. Griffith argues that languages naturally show irregularity because of gradual changes and borrowed words, but he acknowledges that accidents are sometimes just that. Accidents.

✽ Notes on the lecture by Dr. Aaron Griffith

✣ A general interest in creating new languages emerged in the 19th century. It was believed to be a tool which could help resolve political conflicts by creating a sense of cohesion and avoiding miscommunication. This is evident in the creation of Esperanto.

✣ In most cases of invented languages, the language was invented first, and the world or context they belonged to was formed from there. Tolkien worked exactly the other way around.

✣ Tolkien aimed to create an English myth, because he considered that England lacked its own mythology. King Arthur is generally considered Celtic in essence (possibly Welsh) and therefore could not apply as an English myth. This could explain why he retained the Gregorian calendar throughout The Hobbit and The Lord of the Rings. It served as a familiar bridge between Middle Earth and England/the real world.

✣ In original maps of Beleriand, there used to be land west of Ered Luin (the Blue Mountains northwest of the Shire). This was changed in later maps, which Tolkien designed and drew himself. Often, Arda was depicted as a globe with several continents. Afterwards, Tolkien decided that Arda was, in fact, flat.

✣ Backstory of the Elves (I have no knowledge of The Silmarillion, so if I did not use the right terms or names, please feel free to correct me!): - Elves first came into existence in Cuiviénen and were invited by the Valar to join them in Valinor, meaning that they had to cross the continent and the ocean - Not all Elves made it to Valinor, however. Some decided to separate from the main group and settled in different areas of Middle Earth, like in Greenwood (later known as Mirkwood). This caused the language they spoke to evolve into different dialects and, sometimes, completely separate languages - Elves returned to Middle Earth after the war against Morgoth (S; Q Melkor), aided by Númenorians - The West was physically separated from the rest of Arda by a 'cut' through the ocean. The gods then shaped Arda into a globe, but once past the portal to the Undying Lands, it was flat again.

✣ Most often, Tolkien did not provide translations of the phrases he peppered into his works, mostly because he believed that nobody would be interested in them. Once he received enthusiastic letters from readers, he decided to attach them to later versions. He did regret publishing the appendices of The Lord of the Rings, however, because the changes felt too 'final' and he felt as though he took away his own liberty to make further revisions to the material (once it's published, you cannot go back).

✣ Tolkien created quite a lot of poetry to match the phonological aesthetics of Sindarin and Quenya.

✣ Outside The Lord of the Rings, the longest source we have in Sindarin is The King's Letter, which was originally supposed to be part of the epilogue in The Return of the King but was not in the final version because he wrote it in the 1970s. In this letter written entirely in Sindarin, Aragorn (then King Elessar) invites Sam, Rosie, and their children to visit him and Arwen in Minas Tirith.

✣ Sindarin grammar is tricky to reconstruct because of the lack of sources on the matter and the complicated grammar revisions that Tolkien brought. However, we do know that it is loosely based on Welsh, which he confirmed in 'English and Welsh' in The Monsters and the Critics (published posthumously in 1983). He aimed to recreate the same 'pleasant' sounds that he found in Welsh for Sindarin. If the reader knows how to pronounce the Welsh alphabet, then they can easily pronounce Sindarin.

✣ Secondary sources on Sindarin: - A Gateway to Sindarin by David Salo. Salo worked as a language consultant on the films, but his book has been criticised by Tolkien scholars because it tends to ignore the changes between 1937 and 1948 and it treats Noldorin as a dialect of Sindarin, which is no longer the case from 1948 onwards. - The Languages of Tolkien's Middle-Earth by Ruth S. Noel

✣ Primary sources are very incomplete, but the main ones we can use to observe the language are the following publications: - The Lord of the Rings - The Lost Road and Other Writings - The War of the Jewels - The Peoples of Middle-Earth

✣ As established in the previous section, Sindarin follows some of the grammatical rules present in Welsh and pre-modern Welsh. We encounter mutations, especially lenition (also called 'soft mutation' because of the sounds becoming softer, e.g. p becoming b), and they play a crucial role in the structure of Sindarin. Below is a comparison of soft mutation/lenition in the context of Welsh and then in Sindarin. -> Welsh: dyn 'man' + teg 'attractive' = dyn teg 'attractive man' merch 'girl' + teg 'attractive' = merch deg 'attractive girl' -> soft mutation after a feminine noun, t is softened into a d -> Sindarin: Perhael 'Samwise' (literally 'half-wise') Berhael 'Samwise' -> lenition when used as a direct object in a clause, p softened into a b Carm Dum 'Red Valley' (capital of Angmar) -> uses tum 'valley', but it is lenited when acting as an adjective or an adverb, t softened into a d

✣ Other forms of mutations exist in Sindarin, but this part of the lecture is quite technical and does require a basic knowledge of Welsh or Middle Welsh to be comprehensible. Feel free to message me if you wish to know more about them.

✣ Mutations arose from sound changes that affected phrases (intonational units). In other words, they are groups of words that have a single principal accent (or stress) to fluidify the manner of speech and convey a sense of emphasis. For instance, not every word is stressed separately in the sentence 'I am going to the supermarket'. The stress is applied by the speaker to highlight their meaning. Is 'I' emphasised to insist that it is 'I' who is going to the supermarket? Is 'supermarket' stressed to insist that it is the supermarket that I am going to, and not another location?

✣ Mutations are inherited from Welsh and its earlier forms. The same is true between Pre-Sindarin (or what Tolkien then referred to as Noldorin) and Sindarin. -> Welsh: atar evolved into adar 'bird' (lenition of t into a d) -> Sindarin: atar evolved into adar 'father' (same pattern)

✣ No cases in Sindarin verbs, unlike in Quenya. This means that there is no Nominative, Genitive, Dative or Accusative.

✣ Like in Welsh, again, some plural forms of nouns involve what we call a vowel change. This means that according to a regular pattern, the vowels contained within a noun are not the same between their singular and their plural forms. In Sindarin, the vowel change and suffixes help to mark plurals. As far as I'm aware, the changes are identical in Welsh, so if you wish to use Sindarin in your own work, have a look at the vowel changes rules and you should be able to form your own plurals. Please note that it occurs with both non-final and final syllables. -> examples: - adan 'man' -> edain 'men' - certh 'rune' -> cirth 'runes' - annon 'gate' -> ennyn 'gates' - amon 'hill' -> emyn 'hills' - mellon 'friend' -> mellyn 'friends' - Dúnadan 'Man of the West' -> Dúnedain (u is not affected)

✣ Suffixes are another way to mark plurals. -> examples: - harad 'south' + rim 'multitude' = Haradrim 'Southrons, Men of the South' - hadhod 'dwarf' + rim 'multitude' = Hadhodrim 'Dwarves (as a race)'

✣ Compounds are common as well. -> example: - morne 'darkness, blackness'/morn 'dark, black' + ia 'pit, gulf' = Moria

✽ Questions I asked Dr. Griffith directly and his answers

✣ Q: In your article and in the PowerPoint presentation, you sometimes mark terms with an asterisk first (e.g. *rokko-khēru-rimbe when you discuss the origin of the term 'Rohirrim'). What does this notation refer to? ✣ A: An asterisk before a form means that it is not actually found anywhere, but we assume it must have existed. In this case, *rokko-khēru-rimbe is the form of Rohirrim as it would have been pronounced in Old Sindarin, but we don't actually have the word anywhere in a written text

✣ Q: For Rohirric/Rohanese, we know that the language that Tolkien based it on was Old English and that terms were directly borrowed from it (e.g. grīma 'mask' or þeoden 'lord, prince, king'), or that names and phrases from Beowulf have been peppered in the lore of Rohan (e.g. Éomer is a character mentioned once, and the first line sung by Miranda Otto in the 'Lament for Théodred' is a line from Beowulf as well). Unfortunately, it seems that the sources on the languages are few, but do we know his reasoning or process in tweaking and applying Old English to create Rohirric/Rohanese? Do we know, perhaps, how the grammar differed from Old English? ✣ A: We don't really know anything about the language of the Rohirrim. Tolkien chose Old English as a sort of cipher. What I mean is: the language of Middle Earth is called Westron, and the Rohirrim spoke a very archaic dialect of it. Tolkien represented this by having them use Old English/archaic forms. He talks about this in one of the appendices to The Lord of the Rings, though I don't remember which one.

✣ Q: In your opinion, is it realistic to compose texts in Quenya or Sindarin, considering that we do not really have a cultural context behind them that is fully explicit? By this, I mean that since idioms and certain concepts are intrinsically tied to their cultural context, is it possible to actually use the Elvish languages to compose new texts altogether? ✣ A: It is possible to compose texts in Quenya and Sindarin. People do it. Obviously, some things are simply impossible to know: how would you say 'computer' or 'shopping mall'? And for other things, we cannot really know since only Tolkien really had the 'true understanding' of Elvish languages and cultures necessary for some text production. That said, people do do it. I don't know much about it, though, I'm afraid.

For those who are interested, I have Dr. Griffith's article, the PowerPoint presentation with sources and vocabulary on it, as well as a handout with Noldorin and Old Noldorin. Dr. Griffith also sent me some extra sources, let me know if you want me to send them to you! If you have questions, I can always try to contact Dr. Griffith again, he is the coordinator of my Middle Welsh course, so I'm bound to bump into him again, and he is genuinely excited to discuss all things Tolkien :) @konartiste @from-the-coffee-shop-in-edoras @lucifers-legions @emmanuellececchi @hippodameia

#Tolkien #Elvish #Elvish languages #Sindarin #Quenya #Noldorin #linguistics #Middle Earth #Lord of the Rings #LOTR #Tolkien's linguistics #masterpost #reference #lotr ref

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rings-of-power-realm · 7 months

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Welcome to The Rings of Power celebration event 2023!

#ROPWeek2023

I wanted to put together a week of positive celebration for this beautiful show which is open to everyone who loves the Rings of Power ♡

The week will run from: Friday 27th October to Friday 3rd November 2023 (inclusive)

Prompts:

Friday 27th Oct Favourite Scenery

Saturday 28th Oct Favourite Musical Theme

Sunday 29th Oct Favourite Original Character

Monday 30th Oct Favourite Dialogue

Tuesday 31st Oct Favourite Costume

Wednesday 1st Nov Favourite Peoples eg Harfoots, Elves etc

Thursday 2nd Nov Favourite Relationship

Friday 3rd Nov Season 2 arc you're most excited for

Rules:

1. You can join in the fun by making gifs, fanvideos, writing, fanart or any other creativity! Text posts are fine too if you just wanna gush about the show!

2. You're welcome to do as many or as little of the prompts as you like

3. No 18+ please

4. All ships are welcome

5. Please use the #ROPWeek2023 and #ringsofpowerrealm so I can track your creations :)

6. If you can't do a prompt on the actual day, no worries, I'll still reblog everything tagged #ROPWeek2023

7. Have fun!! :D

Please spread the word! And any queries feel free to message me here ♡

Thank you to @attheexactlyrighttimeandplace because I was planning on doing an event and their timely ask came just at the right time (great minds huh?!) also they helped for some of the idea prompts and for tagging creators so thank you :)

I also haven't forgotten about the positivity project I started, I have made a link on my blog to the post and also here for anyone interested in that (basically sending the cast positivity and love) My focus will be #ROPWeek2023 for now though :)

#the rings of power #ropedit #rings of power edit #ROPWeek2023 #please spread the word my lovelies!

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falmerbrook · 1 month

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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

#charlie its always sunny in philadelphia voice 'can we talk about falmer please ive been dying to talk about falmer all day'#mine #ask #tes #skyrim #the elder scrolls #snow elf #snow elves #reading my notes doc while making this and i was really cooking on some things. didnt include them all becasue some are very specific for #that fic i keep referencing #like i had to try to elaborate on the religious hierarchies and duties of each position because that was obviously gonna be relevant #but its sorta half baked rn #also i want to have some more headcanons for later in case someone asks again :)

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the-great-gullon-incident · 3 months

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Ranking the moonlark gang from best to worst in a snowball fight

Dex: Grew up with a froster mom and lives in a place that gets plenty of snow. Has plenty of experience plus growing up with the triplets would just mean increasingly more creative and intense strategies.

Sophie: Grew up in California, but had some family in Washington and visited them semi-regularly for Christmas. Knows human tactics which she was shocked to learn are different then how most elves play, and considered way more brutal.

Linh: Spent some time in the snow during her banishment and has the advantage of being an hydrokenetic.

Biana: Vanisher. Keeps tackling people and holding them down while her teammates pelt them with snowballs.

Tam: holds no mercy but has terrible aim so his strategy is mostly just running up to you and smashing the snow ball in your face like a pie.

Stina: Super strong throwing arm and good enough aim. Has fought unicorns in snow fights before and sometimes forget it takes a lot less to take down an elf.

Rayni: uses artificial snow glare to blind her opponents. Aims for the head.

Keefe: keeps putting elixirs into his snow balls and really good at building snow forts.

Maruca: Keeps her forcefield up the whole time and only occasionally throughs a snowball.

Wylie: Didn’t play a lot as a kid and as the only fully grown member is the easiest target.

Fitz: Keeps slipping in the snow, builds a snow fort and hides for most of the game.

Marella: Freezing her but off and any time she tries to get warm she ends up melting all her snow balls.

#kotlc #keeper of the lost cities #sophie foster #kotlc headcannons #dex dizznee #biana vacker #tam song #linh song #stina heks #keefe sencen #marella redek #maruca chebota #rayni aria #wylie endal #the moonlark gang

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thesummerestsolstice · 2 months

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Headcanon Crafts for the House of Finarfin

Earwen: a sailor. Yes, I know, the Teleri are the sea elves, but while most of them can manage in a rowboat, only a few are true sailors; able to navigate the Teleri's finest ships, even in rocky bays or stormy waves. And Earwen was the best of the best. She was particularly fond of venturing out where no one had before, seeing everything there was to see on the ocean, though she always turned back to Valinor eventually.

Finrod: a bard. While Maglor's focus was always on the oral history of the Quendi, Finrod preferred to learn folktales and lays, which were often preformed more casually and retold with somewhat improvised lyrics on the fly. By the time of his death, he knew more myths and legends (elvish, mannish, and dwarfish) than anyone else, though most of it remained unwritten and died with him.

Angrod: a spinner. Well, he didn't just spin wool into thread– though he did keep a few sheep, and was very fond of them. He spun thread and yarn from various materials, and then hand made dye to turn it various colors. He valued his work for its rich hues and remarkable resistance to fraying. He was basically the only person whose thread was high quality enough for Caranthir; the two of them really bonded over fiber work.

Aegnor: a dancer; more in-line with traditional Vanyar work than most Noldor crafts. He had the strength and precision for the most complex dances, though he was sometimes a bit awkward when it came to dancing with a partner. Some speculated that he would swear his service to Nessa, as one of the few dancers skilled enough for a place in her halls, but he never did. He always felt there was more for him in life than endless routine.

Orodreth: a gardener. Look, a garden is an amazing work because it's always growing and changing, and it's made in collaboration with nature. Orodreth loved that sense connection with the world around him, and tried to make garden that looked more natural and weren't bound to beds or boxes. His favorite flowers were always tulips. Though it was underground, Nargothrond still had beautiful gardens thanks to some creativity on his part.

Galadriel: a baker, like Finarfin. As a child, she wanted to follow in her father's footsteps and make something that everyone would be able to enjoy; she learned a lot of her craft directly from him. Aredhel would often bring her fresh ingredients from the Valinorian woods. After going to Middle-Earth, she set her craft aside because she had no use for fancy craft work when she had to deal with fighting hordes of orcs and trying to deal with Sindar-Noldor political relationships. Also Finarfin and Aredhel weren't around anyone. She came back to it in the Second Age, and was able to find peace and happiness in her craft once again, although she never lost any of her warrior's skill.

Bonus! Although he wasn't aware of it, Finrod actually managed to make his way into legends and folktales throughout the peoples of Middle-Earth. Though his story was changed over time, he's always remembered as a faithful friend and a ray of light in dark times– and as having a rather impressive amount of fancy jewelry. He learns this all in Valinor, from his conversations with another famous keeper of tales: Bilbo Baggins.

Headcanon Crafts for Finwe and his Children, the House of Feanor, the House of Fingolfin, and the rest of the House of Finwe.

#silmarillion #silm headcanons #house of finwe #house of finarfin #noldor #noldor crafts #finarfin #earwen #finrod #angrod #aegnor #orodreth #galadriel #caranthir #aredhel

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isildur-apologist · 1 year

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You don’t hate Amazon you hate the Silmarillion: a genuine review of Rings of Power

It’s no secret that overall I liked RoP. I watched it with my roommate who gets very hyped about stuff like that and it made for a really exciting viewing experience, instead of the more bitter perspective I might have taken if I watched it alone. But, I also know there are some real faults with the show, I never thought it was perfect and know it’s not on par with the the LOTR movies and I never expected it to be. But, the fault for that is not on Amazon.

(I want to note that I am not defending Amazon. I hate Amazon. Jeff Bezos can catch this guillotine. I am, however, defending the creative team behind the show, which is how I will refer to them from here on out, I only called it Amazon to grab your attention. )

Here’s my point though, almost every (valid) critique I see of this show isn’t a problem with decisions the creative team made, it’s an inherent problem in any adaptation of the Silmarillion (and associated works but I’m just going to refer to the Silmarillion for brevity’s sake).

The Silmarillion, as full and detailed as it is, is a shit story. The events of the second age do not fit neatly into a clean story structure the way LOTR does because it’s not supposed to. The Silmarillion isn’t a story, it’s a history, and history is never narratively satisfying. Tolkien (Jirt, not talking about Christopher here) didn’t publish the Silmarillion in his lifetime, he only even published LOTR and the hobbit, everything else attributed to him was published after his death. He had no intent of making the other works anything other than a comprehensive history of the world he made for documentation’s sake, never with intent to publish. He didn’t even compile all the writings, Christopher did.

Because if this, the Silmarillion is really hard to adapt for a number of reasons:

1. Elves aren’t good main characters.

Elves aren’t supposed to be relatable characters, they’re aloof and static and inherently non-relatable (There are exceptions but they’re usually not regular elves. Elrond is half elven, Legolas is very young). Humans and hobbits are the relatable characters through which we view the world, because they can have human flaws and conflicts, which makes for a very human story. To make elves the main characters you need to make them interesting characters, and elves aren’t supposed to have human flaws, and so you either stay faithful and they don’t feel relatably human, or you change their to be more human and it feels disingenuous to what we know elves to be like. It’s a lose lose.

2. Middle earth is not supposed to be pretty.

A huge part of LOTR is realizing every place they visit is either the ruins of a past, much larger civilization, or a city that is a fraction of what it used to be (Gondor in lotr is NOTHING compared to what it was in the early 3rd age, or Arnor and definitely not Númenor, Rivendell is a pebble compared to Lindon and Eregion, we only ever see Khazad-dûm as a decrepit tomb instead of the most prosperous mine in all of middle earth is once was). This juxtaposition is integral to the main themes of lotr and is imperative to the story jirt was trying to tell. A story set in the 2nd age cannot have these ruins because IT IS THE RUINS. It cannot “feel like lotr” because it is what will make lotr lotr.

3. Characters (individuals) are of little importance in the Silmarillion.

As important as Elendil and Isildur (and even Anárion) are to the plot of literally the entire 3rd age, we know little about their own narratives. They are names for the people that did these important actions and that’s it. Again, the Silmarillion is a history, it’s not going to say what Elendil and Isildur’s relationship was like in excruciating detail or what Isildur wanted to do with his life before sailing to middle-earth and becoming a king. You have to write these characters a good story if you’re adapting the Silmarillion and sometimes there isn’t space to write a compelling journey in the space Tolkien left. Because they don’t have a character, any character you give them will seem “out of character” to many people.

Basically my point is that before you go and say “well this is weird or I didn’t like this choice” think about what the creative team had to create to make an interesting show out of a story not designed to be told. Sometimes they didn’t make the perfect decision, but if you were tasked with adapting something unadaptable do you think you would do it perfectly?

#rings of power #the rings of power #rings of power review #lotr #tolkien #silmarillion #galadriel #elrond #gil galad #celebrimbor #arondir #numenor #elendilf #oops I meant #elendil #isildur #durin iv #lord of the rings #lotr rop

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purdledooturt · 2 months

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drink break

Summary: Astarion didn't often run into Tav awake when he drank from her at night - not since the first time, anyway. But he can't say he doesn't enjoy it.

Note: I'm extremely grateful to the members of Cinnamontails's discord for their part in getting this out of WIP hell - it's so cool being surrounded by other creative people and there's something about it that pushes one to keep creating, so please come and join us! They also helped me come up with our fruit-based nickname for Astarion 🤠 [AO3 Link]

Tonight, Astarion was at peace.

He often took on first watch – he would take the time alone to hunt, get a break from the chatter of his companions, and he would read uninterrupted, winding down from a full day of travel or exploration or combat. It was the benefit of being an elf – he’d seen his companions running on less-than-ideal amounts of sleep, and their performance always suffered when they were poorly rested. Meanwhile he was free to hunt, crawl back into his tent, trance for four hours and be back to his usual perky self. He liked to lord the fact over Lae’zel, who begrudgingly agreed that being able to enter into a trance was a lot handier than needing to sleep – he cherished what wins he could have over her.

He had nowhere to be tonight – he had drained a bear the night before, spotting it sniffing around towards their camp chest which had just been restocked with supplies carefully catalogued by Gale. It wasn’t much of a challenge, and probably the closest he would have to a restaurant experience as a vampire, but the bear was extremely filling, and he didn’t want to be picky. He was feeling sated enough and didn’t really need to hunt, so he took the time to catch up on his reading while he sat watch, lounged on his carefully stacked pile of plush pillows at the entryway of his tent, enjoying the sounds of the forest and the mild breeze on his skin.

He greatly valued these moments. He occasionally wondered if this was how he would have spent his nights if he were still alive (minus the outdoor aspect of it). Often, he would look up at the sky and think about his old life at that wretched castle, and it would steel his resolve to never return. He prized his freedom, however temporary, and other than the occasional intrusions from his guardian, his mind was his own. His companions (tadpole included) made for far better company than his siblings. His companions listened to him and there was a friendly camaraderie that the surlier members of the group refused to acknowledge. They never told him to be silent, never tried to sabotage him, never told him he wasn’t good for anything but lies and seduction. They valued his input, and he, in turn, begrudgingly depended on them. It was the closest thing to friendship for him (although he couldn’t tell exactly what it was the stopped it from completely crossing over).

But what he appreciated the most was the ability to manage his own hunger. Gone were the days of mind-numbing starvation. Gone were the days where he fed on rats and bugs, getting what little sustenance he could from fetid and rotten blood. He was free to hunt as he pleased, though he stuck with animals as he’d been requested to, save for the times he got to bite into the necks of the less-friendly thinking creatures they encountered.

The most delicious of all, however, remained his first. Which reminded him —

Tav, their leader, had offered herself for a drink this morning, and he was waiting until she was well within her dreams before he wandered off to top himself up. While he didn’t explicitly need to feed, he always took her up on her offer as he couldn’t miss the opportunity to have some of her blood. Hers, for some reason, cleared up his mind the best.

He decided it was a good time to do so when Halsin woke up to take over – the two elves had an arrangement where they took turns to watch while the rest of their companions got their eight hours (or as close to it as they were afforded to). It worked out for everyone, and it meant Astarion would get his me-time guilt-free. He watched as the druid wandered towards the fire with blocks of wood and his beloved set of carving tools – he was in the process of creating little wooden trinkets for some of the party, after Shadowheart had requested he made her a little trinket of what animal he thought she would be if she were a druid. She got a little wooden goldfish the next day, which she carefully hung at the entryway of her tent, dangling like a sad, friendless mobile. She was so very pleased, smiling wider than usual as she cooed over the gift, and Astarion was surprised that the idea of being a forgetful fish didn’t offend the Sharran.

Neither of the elves said anything – they were both very good at keeping silent, not wanting to interrupt their companions while they slept. Astarion pulled himself up, leaving a folded note about camp chore allocation he’d been left one day as a bookmark. Wordlessly, he headed towards Tav’s tent as Halsin began carving away – tonight’s project seemed to be Karlach’s, and it looked to be a bear that looked more like Clive than an anatomically accurate one.

Astarion pushed past the flaps of the tent, careful not to let too much of the light from the campfire through. He didn’t want to admit it to anyone, but he was a bit soft on Tav, wanting to make sure she got her rest and was inconvenienced as little as possible by his feeding on her and accepting her generosity. Normally he would find her sleeping peacefully, exhausted from the day’s travels, and he would sup just a bit generally as a dessert before he left for his bedroll feeling lighter and happier.

He blinked at the sight in front of him as he let the tent flap fall behind him, and the sliver of light that came through from the campfire shrunk into a line and then nothing. His dark vision meant he could see her clearly even without the light.

She was hunched over, in such a poor posture he had to actively bite his tongue to not comment on it. Her hair was showing signs of chaos – she always was a bit of a wriggler in her sleep, and so her hair often tangled from the back (or so he noticed – he also noticed it tangled worse when it was freshly washed, as was the case tonight). With one eye open and the other closed, she lifted a finger at him in a gesture that he took to mean as ‘hold on’, while she chugged down the contents of her waterskin.

She looked charming. Adorable in a very unruly, wild gremlin kind of way.

She popped the cork lid back on the skin, smacking the top of it with practiced precision. Keeping one eye closed, she began to lay back down on to her bedroll, her hand gesturing towards him with palms up, inviting. Tensing her core, she brushed the hair from her neck and pushed her hair up on to the pillow, making things easy for him to access. She closed her eyes.

“Are you awake?” he whispered, as he began to kneel alongside her. Was she… sleepwalking? Was she conscious? He’d never run into her awake for feedings since they started their arrangement. She adjusted her position as she laid down, laying her entwined fingers together over her stomach like a princess in a coffin, ready to rest. It was a comical sight with the unruly bedhead looking like a nest-crown.

The eye closest to him fluttered open briefly. She muttered, “yes,” like a childish princess impatiently waiting for her true love’s kiss. He wanted to snort at the sight.

“Shall I come back another time, darling?” he asked, still keeping his voice low. He watched as she pursed her lips and let out a forceful sigh through her nose. It had been a while since he’d fed from her while she was awake, and while the first time went better than he expected he didn’t want things to be awkward given how intimate the whole experience tends to be.

“It’s fine,” she replied, muttering under her breath. She cleared her throat quietly. Her voice was a bit scratchy despite the water, and Astarion wondered if she was perhaps getting sick. Humans were always so susceptible to illness. He wondered if the ground was too cold for her despite the bedroll. Maybe the bedroll was too thin?

Ah – he really was soft on her. The others must not be allowed to know, but he tried to scan through his inventory in his mind. He may be able to spare her another blanket to tuck under her bedroll, just to stop the cold from seeping into her back. But he’d have to do it in a way that made her think she “made him” give it up.

He enjoyed teasing her – it was so easy when she was so gullible.

He began to position himself over her neck, like he often did when she was in deep sleep and lightly snoring. “Well, at least you’re not snoring this time.”

Her eyes popped open and her mouth fell slack in shock, and she smacked his chest lightly, though she tensed when she noticed that he had his arms over her like a makeshift cage. Why did everything about vampirism hinge on sensuality? “I don’t snore,” she argued. She was on the verge of pouting, staring up at him as he hovered over her. Her eyes looked so large and so round in the dark. He could stare at them forever.

“You convince yourself that, darling,” he said with a smirk, as he lowered his mouth towards her neck. He could hear her heartbeat speed up, thudding loud in the silence of the tent. Gods, teasing her was just so fun. Excitement made her blood taste a little different. He made sure to let his breath hover over her skin. “Whatever helps you sleep at night.”

She tilted her head away to give him easier access to her neck, almost reflexively. He glanced at her from his periphery, noting the full pout and frown that marred her eyebrows. Petulantly, she snorted. “Absolutely not do I snore,” she whispered furiously, relacing her fingers together over her diaphragm. She closed her eyes again, but the small pout remained. It looked like it could be dispelled with a kiss, but he wasn’t about to test his luck.

He shushed her, enjoying the way she shivered from the base of her spine from the sensation. He knew a thing or two about appealing to someone without actually touching them. Breathily, he whispered, “Now, now – let’s be professional about this, darling.”

“Yes, let’s,” she said, quickly sparring against his flirting like she always did. Gods – he loved the sparring. It kept him on his toes, and not in the fight-or-flight manner he had grown accustomed to. “I always am. I think this is a you problem.”

He sighed again, dreamy and content. His hand found its usual place against the other side of her neck to keep her still. “I do so love dessert,” he muttered – his lips brushed against her skin closely before he bit down and began to feed. She stiffened at the action – she always did, even when she was asleep, but she remained stiff. He rubbed slow circles against the skin of her jaw near her ear. He pulled away briefly, keeping his lips mostly against her, to whisper, “relax, pet.”

She melted under his touch upon instruction, and he resumed his meal. He hummed in appreciation.

He tried to take little – he was still full, after all, and he didn’t technically need to feed. He just wanted to accept the offer, selfish as he was, to help clear his mind. He gave the puncture site some kitten licks, cleaning up the remaining blood, leaving nothing wasted. “Let me wipe that up,” he said, as he pulled back and straightened back to sitting position, studying his companion who now seemed to be at the edge of sleep. Her head lolled back as if trying to follow the sound of his voice.

“M’kay,” she slurred, as she began to turn on her side. He knew she was a side sleeper – she liked to sleep with her knees tucked up towards her chest and one hand tucked under her head. She often complained about pins and needles the next day, but never did anything to change her sleeping position. He knew she drooled, too, when she was extremely tired – he usually wiped the drool off when he was cleaning her up post-feed. “Thanks.”

“Do you… want water, darling?” He asked, as he tipped out some of the healing potion they kept explicitly for clean up into a clean handkerchief. He approached her and gently held her chin as he took care in dabbing the handkerchief against her wound. He checked for drool – nada. Good.

“D’be nice,” she muttered, her words fading into silence as sleep began to take her back into its arms. “Thanks, melon.”

He frowned. “Excuse me, darling – melon?” Where did that nickname even come from?

She hummed in agreement. “You’re my melon,” she said simply as her voice gave way to a light snore. Her breathing evened out, betraying slumber.

He shook his head as he took her empty water skin, making his way out of the tent and towards the big cauldron they used for clean, potable water. Halsin watched him with mild interest as he carefully refilled the water skin, before cautiously punching the cork back in place. No words were exchanged as he strode back to Tav’s tent, sliding in to find her with her arm stuck up.

“Gimme,” she muttered, and he rolled his eyes to hand the water skin to her. She sat back upright, eyes lidded and hair still a mess. “Gods, I’m so thirsty tonight.”

“That’s because you drool.”

“I do not,” she disputed, lips wrapped around the mouth of her water skin, but he was amused to find her reach up to her cheek anyway. She grumbled, before taking a big drink – he wouldn’t be surprised if she’d emptied the damn thing again. She gulped down the liquid greedily, before she let out a light ‘ah’ as she put the lid back in place.

Astarion’s hand shot out, offering to take the item. With a confused look, she passed it to him, and he put it back on top of the crate she used as a makeshift table. He stood and prepared to leave. “Thanks, Astarion. You didn’t have to do that,” she said softly, with a dopey smile that made her eyes crease at the corners in the way he adored. It made her look so innocent.

Never one to let opportunities pass, he countered, “well, nice of you to remember my name now, my dear. You called me a melon a few minutes ago.” He didn’t address the rest of her statement. He didn’t know how to deal with gratitude – so he didn’t.

She laid back down, closing her eyes and trying to paint herself as a picture of peace. It didn’t seem like she noticed his avoidance. “I didn’t call you ‘a melon’,” she clarified, though it did nothing to demystify the topic to Astarion, “I called you ‘melon’.”

“Yes, okay, darling – but where in the hells did that comes from?”

She frowned and one eye cracked open. “I thought you knew Elvish. Isn’t that ‘friend’ in Elvish?”

Oh. She meant ‘mellon’, but she used the wrong tone, didn’t elongate the correct syllables, and got essentially nothing of it right. He pursed his lips together, unsure of whether to correct her. It would be funnier to… not. Plus, he found he wasn’t very pleased with being called ‘friend’, but he was somehow fine with being called ‘Melon’. It was… cute. And it was special because no one had ever used that pet name on him before. He could let it pass.

“Yes,” he lied, “well, you just butchered the pronunciation a tiny bit, darling, but I see what you’re going for now.”

The single open eye rolled. “That’s what I get for being friendly. Get out of here, you melon.”

He scoffed. “Well, goodnight, my sweet,” he whispered, as he turned to head out of the tent. He cast her one final glance. He could make out her beady little eyes peeking at him and the telltale crease in their corners betrayed a grin she tried to hide beneath her threadbare blanket. He could imagine the little wrinkle her nose would make when she made such a face – it was his second favourite feature of hers.

He felt the intense urge to bundle her up and take her away – she looked so vulnerable and innocent at rest, and the fact that she trusted him while she was in this state gave him conflicted feelings. A part of his mind told him she was an idiot and the perfect target – too trusting, too naïve, too stupid. Fell quickly for a pretty face and a kind word. His insidious mind whispered there must be an ulterior motive to it all – a fetish or some such she was wanting to fulfill. Surely no one was this kind? This giving? If she were in Baldur’s Gate she would have followed him to slaughter without question. And he would have led her there, and the world would have been less bright without her in it.

It made his phantom heart clench. Another voice in his mind asked – what does that make you? You fell quickly for a pretty smile and a generous heart.

Well. It seemed they were just two fools meandering around.

“Sleep well.”

She let out a sleepy chuckle, followed by an impressive yawn. “Goodnight, my melon.”

Astarion emerged from Tav’s tent to find Halsin still carving away, deep in focus. The larger elf looked up at him and his expression softened, before returned to his work with a slight smile. The vampire walked over to his tent, slid in, located the spare blanket he was going to bait Tav into taking in the morning, and laid down to prepare for his trance. He was surprised to find his cheeks hurting.

As he closed his eyes, he thought of melons and wood carvings, and the faint scent of the rosewater that always lingered in Tav’s tent.

Tonight, Astarion was at peace.

#astarion x tav #soft astarion #there's something about waking up at 3AM to chug a full water bottle that gets me feeling real gremlin #9 INT Tales #purdle-writes #astarion x f!tav #astarion x female tav #baldur's gate 3 fanfic

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divanthesimmer · 1 year

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The Sims 4: Medieval Save

Hear ye! Hear ye! The Medieval Save is finally here!

This has been an ongoing project which many Simmers from all across the world were apart of and we turned nearly 19 worlds from the game into medieval kingdoms. I've always been a fan of medieval fantasy as well as The Sims Medieval and so this save was born.

A few things to take note of:

* Due to the previous placements of some lots in destination worlds, a bug caused them to became unplayable. It is now fixed (as well as a few other things) and I kindly ask you to re-download the save and delete all previous versions (uploaded before 13 March 2023).

* This is not meant to be a historically accurate save and not all worlds can be considered "medieval". For example Oasis Springs was turned into Ancient Egypt and StrangerVille was turned into a Native-American world and there are many fantasy creatures in the save. Also, The Sims is a very modern game and we had to work with what we have. I guess it would've been more accurate to name it Historical Fantasy Save or something along those lines, but the main theme has always been medieval.

* It requires nearly all the packs and is quite a big file. I didn't want to restrict people's creativity and we don't have many medieval looking items in the game. I recommend lowering your graphics if you have a lower end PC and note that you might have many bald, nude Sims and missing build objects if you're missing packs.

* It doesn't add any new gameplay, though it could change how you play the game. Almost all modern appliances are removed and most lots are off-the-grid. This is not a mod and thus I couldn't add things like swordfighting or things that would make the save more immersive. Luckily there are many mods out there that could help with that.

* Some Sims with royal titles have longer names and editing them in CAS will force you to shorten their name. If you wish to edit them, you can shorten their name in CAS and just re-add their titles with MCCC in live mode.

* NPC Sims/townies will continuously spawn with modern clothing by the game's design. You can either delete them as they spawn, give them medieval makeovers or edit them in CAS and replace them with medieval Sims from the Gallery. There are some tutorials on YouTube which could help with this, like this video by KatsCorner: https://www.youtube.com/watch?v=qPsxmGk92M4

Worlds included in this save:

Fairdells, previously Willow Creek:

A magical kingdom home to elves, gnomes, fairies and several magic-wielding races. Ruled by the tyrannical King Taranath, the future of this once-peaceful kingdom looms in the air. Architecture includes elven palaces, treehouses, dwarf villages and more.

Egypt, previously Oasis Springs:

The ancient kingdom of Egypt ruled by Queen Cleopatra of the Ptolemaic dynasty. It includes pyramids, palaces, temples and more.

Wood Grove, previously Newcrest:

An extension of Fairdells home to dryads, elves, gnomes, ogres and other races. It's a more "foresty" area than Fairdells and includes swampy ogre homes, mushroom homes and lots more.

Windenburg:

A kingdom ruled by the royal Von Haunt family. After the King's death, his young son took his place on the throne, but has much to learn and is ruled by his mother, the Queen. Includes typical medieval architecture like castles, inns, peasant homes and more

Pirate's Cove, previously Brindleton Bay:

A hideaway for thieving pirates and cutthroat buccaneers. Includes pirate nests, ships, inns and more.

Mermaid Isles, previously Sulani:

This kingdom has always been home to both men and merfolk. Recently pirates have invaded and everyone is at war. Includes pirate ships, a mermaid castle, an inn and more.

Chihuahuan, previously StrangerVille:

A desert home to indigenous Native-American tribes. Includes an adobe village, tipis and the infamous Pit of Judgement!

Mt. Komorebi:

An ancient Japanese kingdom home to Japanese farmers and Samurai warriors. Includes onsens, Samurai training grounds, villages and more.

The Swamp of Terror, previously Evergreen Harbor:

A ruined region home to those shunned by society - beggars, thieves, ogres and more. Includes an orphanage, ruined buildings, ogre swamps and more.

Glimmerbrook:

A magical kingdom home to all spellcasters and is ruled by Lady Ravendancer Goth. Includes a castle, library, inn and more.

Britechester:

Built and ruled by the royal Landegraab family, this kingdom is home to scholars and those who wish to learn about history and dragons among other subjects. Includes a castle, student housing, libraries and more.

Selvadorada:

A lost kingdom which includes several inns, temple ruins and more. Many travelers go here to search for hidden treasures and discover ancient secrets.

Nordhalla, previously Granite Falls:

A Viking settlement home to Vikings as well as werebears. Includes Viking homes, a stave church, werebear hideouts and more.

Forgotten Hollow:

A kingdom home to creatures that dwell in the night. Ruled by Count Vladislaus Straud, it's a haven for all vampires, but vampire hunters have recently arrived and things are about to get messy. Includes vampire castles and temples, vampire hunters headquarters and more.

Henford-on-Bagley:

A rural kingdom home to many farmers and their animals. Ruled by House Llamaryen and a place where fairytales come to life. Includes a castle, farm homes, a village shoppe and more.

Guild Centre, previously Magnolia Promenade:

A small shopping centre which includes an inn, tavern, market and apothecary. Travelers from all kingdoms go here for their shopping needs.

King's Valley, previously Del Sol Valley:

Home to some of the most prominent Sims accross all kingdoms, such as the Emperor, his most trusted advisors and high ranking priests. Includes castles and a sept.

Tartosa:

A kingdom surrounded by the Mediterranean sea. Home to the legendary Princess Cordelia and the royal Thebe family. Includes castles, pirate ship, a peasant village and more.

Moonwood Mill:

A village home to lumberjacks, mooncasters and MOOcasters. Includes a lumber mill, peasant village, cowplant farm and mooncaster hideout.

Credits:

Thank you to josh_se_oh for the amazing cover render and KawaiiFoxita for the beautiful build screenshots. Also thank you to everyone for your support as well as everyone who contributed to the save! All builds and Sims created specifically for the save can be found under #divanmedievalsave on the Gallery.

Please tag me with screenshots and videos if you intend to play the save!

Download on Patreon (100% Free)

#s4cc #ts4 save file #divanthesimmer

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carionto · 7 months

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I think I want to add Dinosaurs

I am easily influenced and manipulated by what I see and hear. Literally listening to a podcast about not-dinosaurs and it mentioned dinosaurs and now I'm thinking - I don't think I've encountered the idea of using space tech to bring back dinosaurs in any of these, I'm sure there's plenty I just don't know of them, yet. I know some have things like dragons and other monstrous creatures. Warhammer 40K has space elves riding dinosaurs. Dinosaurs are cool.

______________________________________

Hailing from a Deathworld, Earth's flora and fauna, including Humans, are quite sturdy and potent. Unfortunately, it is as a result of a seemingly incomprehensible mix of hundreds and billions of organisms, evolutionary necessity they call "survival of the fittest", and, sometimes, just sheer willpower. Not something easily replicable for the majority of species within the Galactic Coalition.

So when we learned one of their stations is purpose designed to revive long extinct local species called dinosaurs - a very loose term that encompasses millions of wildly different and unrelated species across a greater time span than even some of the most ancient galactic civilizations, let alone a relatively infantile one such as Humanity, we were, once again, worried.

These creatures were massive beasts of pure power, teeth, claws, bulk, even organic armor and certain kinds of naturally evolved weapons! Most Humans have nothing but respect, fear, and awe towards them. And they want to bring them back. We're already getting too used to hearing this response, but still we had to ask why.

"It'll be so cool! Dinosaurs!! In Space!!!"

"Just imagine - a giant 3 meter tall T-Rex, kitted out with a dragon pattern armor plates, twin mini-guns mounted on its sides, friggin' laser beam goggles!, me riding it with a energy sword, holding Earth's flag and being all - Fuck yeah!"

We thought these experimental science stations housed the brightest minds Humanity had to offer, paragons of knowledge, creativity, invention, and progress. Are our translators working right? Or is Humanity just... crazy?

#humans are deathworlders #humans are space oddities #humanity fuck yeah #humans are space australians #humans are space orcs #carionto #dinosaurs in space

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warrioreowynofrohan · 4 months

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For the first day of Silmarillion Daily - some thoughts on the Discord of Melkor.

The Great Music is a theme where Ilúvatar provides the broad strokes, and the Valar are encouraged to improvise upon it. The purpose of Melkor’s discord is not creativity, but in a sense the opposite of it - “to increase the power and glory of the part assigned to himself,” and thus to give one voice greater dominance over all the others, rather than all working together in their own ways. And that dominance and lack of creativity is the first effect: some are discouraged and stop singing, while others match him rather than following their own thoughts.

The Music is something of a speedrun of what Melkor later becomes - at the beginning he wants more power in order to make his vision a reality, but as he continues fighting against anything that is not his own music, he ceases to have any real vision of his own, but only the object of drowning out everyone else.

it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice

This is a pretty good encapsulation of what evil does to a person who chooses it, on a pattern repeated throughout Tolkien’s works (Melkor, Sauron, Fëanor, Saruman): any creative impulse or goal is drowned in the desire for power and dominance and crushing any opposition.

For all this, Melkor cannot overcome Ilúvatar’s guiding theme in the music, but as a consequence of this discord Ilúvatar’s theme becomes both sorrowful and more beautiful, the beauty coming from the sorrow. This is also the core theme of The Silmarillion: evil can destroy, it can bring sorrow, but it can never ultimately win.

behold! a third theme grew amid the confusion, and it was unlike the others. For it seemed at first soft and sweet, a mere rippling of gentle sounds in delicate melodies; but it could not be quenched, and it took to itself power and profundity…deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came….it seemed that its most triumphant notes [of Melkor’s Discord] were taken by the other and woven into it own solemn pattern.

Lastly, there is a sharp contrast drawn between the attitudes of the other Ainur towards the vision of the Children of Ilúvatar, and the attitude of Melkor. The other Ainur are delighted at the prospect of people who are different from them, with whom they can communicate and from whose different ways of thinking and living they can learn:

when they beheld them, the more did they love them, being things other than themselves, strange and free, wherein they saw the mind of Ilúvatar reflected anew

But Melkor, by contrast, is jealous of them because they are different from him, and wants to control them and be obeyed by them:

he desired rather to subdue to his will both Elves and Men, envying the gifts with which Ilúvatar promised to endow them; and he wished himself to have subjects and servants, and to be called Lord, and to be a master over other wills.

In Tolkien’s works, almost invariably, more diversity and variation and creativity is a good thing, and trying to make everything done one way, your way, inevitably leads to ‘making people do want you want’ become the goal that precedes and displaces whatever it was that you wanted to do in the first place.

On another note, it’s fascinating that most of the Ainur other than Ulmo initially find the Sea unsettling (‘because of the roaring of the sea they felt a great unquiet’), even as the Elves will the first time they see it. It’s possible, in line with the above, that part of this is the wild and uncontrolled nature of the Sea; that it is, to Tolkien, the ultimate element of freedom, the thing that cannot be controlled and yet holds no dominion. This also fits with Ulmo’s role as the ‘loyal opposition’ to some of the other Valar, in his desire not to summon the Elves to Middle-earth, and to aid the Noldor after their departure; both or these are in line with allowing the Children of Ilúvatar more freedom to choose their own path.

#silmarillion daily #tolkien #the silmarillion #valar #melkor #eru iluvatar

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