shrikeseams:
Just watched a tiktok with the phrase ‘you’ve heard of blue hair and pronouns, get ready for green hair and no nouns’ and I FULLY heard it as blue heron/ green heron and had to loop it twice before I realized that there was not, in fact, wading bird gender controversy.
Under the heron gender scheme, I think I fall under either green heron or least bittern. 🤔
Just watched a tiktok with the phrase ‘you’ve heard of blue hair and pronouns, get ready for green hair and no nouns’ and I FULLY heard it as blue heron/ green heron and had to loop it twice before I realized that there was not, in fact, wading bird gender controversy.
welcomingdisaster:
choose some elves to go on a cross-country roadtrip with
feanor, fingolfin, finarfin, lalwen
finwë, elwë, olwë, ingwë
luthien, daeron, mablung, beleg
celegorm, curufin, caranthir, celebrimbor
none of them can drive so they’re just in the back of your honda civic trying to give you directions and asking you to change the radio station.
tell me in the tags who you’re making sit middle seat and who gets shotgun.
okay, here’s my rubric:
-no shouting. Arguments are fine as long as they stay quiet.
-I need at least one person who can read a map and/or navigate in a meaningful way
-No bitching about stopping for bathroom breaks or pulling over at a state park to stretch our legs
-at least one person who’s willing to help me change my car tire if needed. They don’t need to know how, just be willing to get sweaty and dirty without too much griping.
Shouting disqualifies both Finwian family groups, and of the two remaining… I’m taking the Iathrim. Beleg and Mablung get to take turns navigating in shotgun, and I also trust both of them with a tire emergency. Luthien and Daeron take turns sitting in the middle. All four have to teach me to be better at bird identification in repayment.
(via maironsbigboobs)
Anonymous asked:
Hey did the Rachel in your ‘verse hear the Ellimist’s story still?
thejakeformerlyknownasprince:
shrikeseams:
thejakeformerlyknownasprince:
Y'know, I still haven’t decided whether “yes” or “no” is the funnier answer, so maybe I should put it to the masses:
Let Rachel and Tobias shit-talk the Ellimist’s backstory behind his back. All three of them deserve it.
@cryptologicalmystic
crayak tells rachel his tragic backstory and rachel dunks on him the entire time
@ohthat1
She got both of their stories and punched and made fun of them until they put her back with the living just to get her to leave them alone. She promised to not reveal what they said but her fingers were crossed so
Rachel: And then I was like, ‘you only interfere with species for their own good, huh? Toomin, you and Crayak are the same fucking person and you even have the same delusion.’
Tobias: Hey, if you’re right you’re right.
Rachel: So he got all butthurt about that, but I pointed out that Crayak and Lackofa were the same, and Toomin and Lackofa share exactly one brain cell…
Tobias: Lackofa what?
Rachel: Yeah, no, that’s also on the extremely long list of unanswered questions, but anyway, it’s like I said to Father when he dropped in…
in-the-glow-of-a-silmaril:
Do y'all think Maedhros at some point realized that the age gap between him and his father was smaller than the age gap between him and Curufin? Do you think, beating at the edges of his mind, the thought ever came that he was hundreds upon hundreds of years older than his father ever lived to be? If so, we know he never faced that thought fully. An elf who throws himself into a volcano clutching his father’s goal even as it sears his flesh cannot be said to have critically reevaluated his father’s wisdom. What a bitter end, that an elf with so much experience, who had seen so much, would repeat his father’s mistakes with eyes wide open rather then relinquish a shred of that legacy. There is something there that parallels Feanor zealously safeguarding Miriel’s legacy. This is not a family that knows how to let go.
(via amethysttribble)
carlandrea:
The Passing of a Mother Beyond the World is a surviving play by an exilic noldorin playwright about three mortal siblings dealing with the tragic and inevitable deaths of both of their parents in old age. The play is a fascinating cultural artifact, both for its reflection of the cultural anxieties of the noldor in exile, and for its very clear lack of interest in how mortals act or think. The siblings range widely in age—the eldest has an adult son of her own, while her youngest brother is a child, apparently conceived when his parents were octegenarians. All of their ages are left vague. Their mother is on her deathbed, and all three expect that their father will not survive the night in his grief.
The family is compellingly written in their grief. The play covers only the day and the night before the death of their mother, as they cry, fight, and attempt to comfort each other. There is nothing glaringly inaccurate about the portrayal of bereavement—only a lingering sense of strangeness in the shock and desperation of it. Surely, a mortal audience might think, they were expecting this? Did they not discuss, for example, who would take care of the youngest child (the subject of a fight in the second act)? They seem surprised and devastated, like a family reeling from a sudden illness or a violent death, rather than the peaceful passing of their elderly parents.
In the final scene, the adult grandchild of the dead couple seems to realize that his mother will also die, and they share the final scene in the play. She comforts him, and the play ends with mother and son sitting together in silence—mirroring the first scene, a peaceful morning in the now dead parents bedroom.
This play seems to be a reflection of the cultural anxieties of the exilic noldor—of a newly doomed culture discovering tragedy and death. The unexpectedness of it, the violence of their grief, even the father dying with his wife, all reflect a distinctly elven and exilic view of death and mourning. The playwright projects these fears outwards, making them more palatable by writing about the mortal children of a dying mortal couple—a safer choice for an elven audience.
(via in-the-glow-of-a-silmaril)