#Marvel and tolkien stories
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Masterlist
This blog is 18+ minors DNI!
Only one gif is mine, the other credits to the creator
Hello there!
So I finally got to orginize my works in here, thank you for stoping by and I hope you like the stories. I write for several fandoms but my main focus right now is Marvel and Tolkien with very specific pairings. Here you will find the list of the stories I have written so far, and the works in progress.
This blog is 18+ so please minors DNI, and if you're not comfortable with it just a heads up. Please read the warning on the stories as well as the tags, if you believen I'm leaving something out give me a heads up so I can correct it right away
MARVEL
Pairing
WandaxFemale!Reader
Without words - (Fluff)
Summary: Y/N is the new recruit, and Wanda finds herself drawn to her.
When there are no words - (Fluff,angst)
Summary: It was a bad mission, Y/N just wants to forget, and Wanda is an amazing girlfriend - Continuation of Without Words.
On a single night - (Fluff, smut, angst)
Summary: One night between you and Wanda changed everything. Now, your relationship will end up in tears or wedding bells.
Midnight meeting series - (Fluff, smut)
Summary: You have been under house arrest in the Avenger´s compound since arriving to that universe, then in a single night your world changes while meeting the newest addition to the team.
The house at the edge of the world - (fluff, angst, drama, smut)
Summary: Y/N is the owner of an Airbnb at the edge of the world, a place in which Wanda would either heal or become what everyone is afraid of.
Enhanced senses - (Fluff, drama, smut)
Summary: While on a mission you heard a conversation that make you think about your relationship with Wanda.
We can be forever - (Fluff, drama, smut, angst, romance)
Summary: You and Wanda met at a Café, your life and hers changed drastically and for the very first time in her messy life, Wanda may have discovered the real meaning behind love at first sight.
Dirty Little Secret - (Angst -drama)
Summary:You were Wanda's dirty little secret.
A Heart Made Of Glass - (Angst - drama - romance - smut)
Summary: Ten years ago you left Wanda and the Avengers to heal your broken heart. You never stopped being a hero, just as you never stopped being in love with her. But life had to go on.
Now, after all that time, she is back and with her is a young woman needing help and an enemy that may not be as afraid as Wanda to lay a claim on you.
Bad Liar - (Angst - drama - romance - smut)
Summary: Life is about lessons, and Wanda has been learning some harsh facts that had define her life and taken her to a place in which she was given a second chance. Then, all of a sudden, she meets you, and she realizes why it's easier to lie to yourself than to accpet what's right in front of her.
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TOLKIEN
Pairing
ThorinxThranduil
The Winter that never ended
Summary:In a world where magic only happens in the big Kingdoms, Thorin Oakenshield had to find a way to save his nephew’s life. He never intended to get lost on his way to the closest healer, and he certainly didn’t plan to fall in the clutches of a strange Lord and his household. Yet, destiny seemed to have something to say about his life and how this little encounter would change his perception of live, magic and love.
In Memory
Summary: He saved him at a great price, his memory of what had happened between them was ripped from him. The payment for his sin was to love without being loved.In the anniversary of the defeating of Smaug Thorin is present with a marriage proposal, just as the dreams of the past come to haunt him and show him where his real happiness lies.
I don’t think I love you
Summary: Prince Thranduil of the Woodland Realm promised himself to never love again. Thorin of Erebor promised himself to never need love. Both of them are different in all the ways you can imagine, and yet they are more alike that they care to admit. When a political marriage force them to share their time with one another they will realize some promises are meant to be broken
The ABC of Thorin and Thranduil
Summary: Just a bunch of short and long drabbles featuring Thorin and Thranduil their relationship and the people in their lives.
When the Stars go Blue
Summary: Thranduil was born a healer, his gift could save everyone but it wasn’t enough to safe his wife. Now, after all these years of not using his gift he came forward to safe the life of those who despised him; the Elven-King never suspected his actions would activate emotions he thought he had buried the day he lost his wife, or that those emotions were directed to a recovering Thorin who, apparently, has always had a soft spot for him.
The Silent Ballad
Summary: “The world was fair, the mountains tall, In Elder Days before the fall.” Thranduil has done what no other Elf has done before him, Thorin has decide in his pride to ignore the signs of what really is happening between the both of them. Perhaps, Thorin should be careful for there is only one sickness that could take an Elf’s life away and for the suffering of the heart the only cure from a certain death is to leave the shores of Middle-Earth. Would Thorin overcome his pride and anger to recover what he most desire or would he stand still doing nothing while Thranduil vanishes little by little until his only salvation is to travel to the Undying Lands?
The Promise of a Child
Summary: Little Thorin is ready to propose to Thranduil even though he knows Thranduil is older and he still has to get his adulthood braid. The thing is, he doesn’t want anyone courting Thranduil before he can get the chance to marry him.
Sunday Morning
Summary: It’s just another Sunday morning in the Oakenshield household.
Counting Stars
Summary: Thorin Oakenshield is in a moment of his life where he is just confused yearning for something he cannot name. Thranduil has just suffered an accident that may change everything he is. When their paths cross a friendship is forged and, perhaps, if they give themselves the chance it can turn out into something they may need and want.
It will always be worthy
Summary: At the end of all things, Tauriel, Bilbo and Thranduil have an honest talk about the people they loved and will always love.
A token and a Promise
Summary: Orcrist was put there for a reason.
Sing to Me
Summary: Thorin and Thranduil had been kidnapped by a group of orcs. While being tortured both Kings realized there may be more than animosity between them. However, Thranduil has been poisoned and he is loosing his mind little by little confused as to what is real and what is part of the nightmare the orcs made him live.
#Masterlist#my stories#pin post#stories#fanfics#Wanda/Female reader#Marvel and tolkien stories#Thorinduil#wanda maximoff#Female Reader#WandaxF!Reader#Wanda Maximoff x Female Reader
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I love how everyone is more or less rummaging around the internet to either read or research Agent of Asgard / Loki’s God of Stories arc right now
#I’m gonna say something that might surprise some people - I’ve never read AoA or any other marvel comic#however I live in fandom wikis and storyline summaries#i have difficulty with reading so I actually learned my Tolkien through youtube videos#loki#agent of Asgard#Loki spoilers#god of stories#I’m not a comic fan but I’m not clueless
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Seven Movies From 2019
Captain Marvel
Star Wars: The Rise of Skywalker
Little Women
Avengers: Endgame
Marriage Story
Men in Black: International
Tolkien
#movies#2019#Captain Marvel#sw tros#avengers endgame#little women 2019#Marriage Story#men in black international#tolkien movie
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AI bros from hell
Hello! Do you have a bit of your time for a story on AI bros and clients from hell? I bring a really fun one!
I met this guy at a con I was tabling at over a year ago, before AI was a thing. He said he enjoyed my art, and inquired me about whether I did book illustrations. I said yes- He was specifically interested in my bigger pieces, the fully rendered and detailed ones. He agreed to send me later a DM to discuss specifics.
For two weeks, he kept DMing me on details about his book, what he wanted, etc. He wanted full illustrations for inside the book as well as a cover, all of them fully colored, painted and rendered. He also wanted illustrations in this style to post on social media to promote the book. I had warned him that something like that would be costly, but he insisted that he needed this to be the best of the best.
Now, I was getting bad vibes from the guy. I shit y'all not, his instagram handle was "The next tolkien". I wasn't however gonna refuse a job opportunity. Now, he finally asked for prices: He had reassured me he was willing to pay fairly for this. Since he's a starting author, I gave him my non-commercial quotes, which are much, much, much lower than the standard for book illustrations. I mean "if you search for how much this costs on google, the lower prices are x5 times more expensive than what I offered".
The guy, upon receiving that, just ghosted me. Immediately unfollowed, didn't reply me with a "sorry, I can't afford it" or "sorry, i was expecting to pay $10 for a full rendered full background several-characters-picture". Nothing.
The other day I decided to search what he was up to. He's now released... THREE books for this series. There's a single review in the first one. Not even written, just a stars one. Also, notably, he had a webpage put together promoting the book, and. Yeah.
All the art is AI crap.
Which makes sense. My guy was very on his high horse about how fantastic of a writer he is, but I guess art isn't really to be compensated fairly. When he saw the "art stealing machine you just pay a subscription for", I'm guessing he was very excited.
So, uh, here's some of the marvelous pictures he generated of the characters, which surely tell you about how great the book is. AI is theft, so I don't give a f*** about reposting it.
I have a lot of opinions about creators who write, draw or make music, who are more than happy to use AI for other stuff- Album covers made with AI, writers using AI crap for book illustrations, artists using AI-made music. It feels like you're sh*tting in any other artistic field and showing how little you respect anyone but yourself. Like, I'll be honest, I don't have interest reading a book from someone who considers that other forms of art aren't real or worth any money. It just tells me you're devoid of any interest for art or humanity.
As an ending note, his instagram description is "More closer to god than to human", which does add to the clownery.
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Over the last week, I decided to go ahead with bookmarking all the fics I've recommended over the years on AO3 since I abide by tumblr poll results always (and man pour one out for all the fic that never made it to AO3 or has since been deleted, sooooo many gems lost to time!) and it was a bit more than the ~3,000 I was expecting:
Hopefully, this will be easier than browsing the hundreds of recs posts I've made, since you can filter for any of the author's tags now!
These are mostly focused on Star Wars and DC fandom, but I did my time in the anime mines and occasional tours through some TV fandoms or movies. You can dig into everything unfiltered and start your own filtering, or the bigger fandoms you'll find:
MAJOR FANDOMS:
Each of these should have 100+ at minimum and, in the case of Star Wars, literally almost half of them are in that fandom. Look, Star Wars fandom might be a trash fire in a lot of ways, but it is ON FIRE with some good fic. (Older bookmarks not guaranteed to match my current sentiments, especially re: the Jedi, but they did catch my fancy at that point in time!)
STAR WARS: - All Star Wars -OR- All Star Wars minus the Obi-Wan/Anakin ship - OR- Nothing BUT Obi-Wan/Anakin
BATMAN/DC: - DC can sometimes be tricky, but you can do a Batman* search and get most of them (though, sometimes Nightwing* or Young Justice* or Superman* will catch some of the others). Honestly, though, you might want to just do a search for what character or dynamic you like and have fun from there, because otherwise you're getting a face full of my Dick Grayson Is The Center Of The Universe And I'm Making That Everyone Else's Problem agenda. ;)
MARVEL/MCU: - Marvel* will probably get most of the various properties, though you may want to filter for Defenders* or Guardians of the Galaxy* if you're interested -OR- Marvel* without the Thor/Loki
- These focus a lot on the Thor* fandom if you want to witness the results of like 8 years of constant voracious reading in that fandom (Minus the ship), because, seriously, I read a LOT of Odinson family fic.
- Bonus, just do a search for Maximoff* to find some really good X-Men: First Class-verse because, listen, I have been ALL ABOUT the Maximoff twins since long before the movies or MCU brought them over and I will DIE ON THE HILL of "Marvel, make Magneto their bio-dad again or I'm never reading another comic of yours ever".
TOLKIEN/LORD OF THE RINGS/SILMARILLION/HOBBIT: - Tolkien* -OR- Hobbit* -OR- Lord of the Rings* searches will turn up most of my Elf-hunting, I primarily focus on the Sindar Elves, but look I can't resist my problematic Feanorian faves or that I will die on the hill that Fingolfin is the best ever. (You have NO IDEA how sad I am that so much fic on Stories of Arda or FFNET is not easily bookmarked on AO3, sob. I externally bookmarked a few of the bigger ones, but sooo many shorter faves are missing from my recs tag.)
CLAMP: - X/Tokyo Babylon legitimately bums me out because it's not a huge fandom and yet so much of what was written was pre-AO3 and lost when CLAMPesque went down or was never brought over from Livejournal, yet this fandom (well, the Seishirou/Subaru pairing) still burns brightly in my heart.
MINOR FANDOMS:
Ones that probably only have under 100 bookmarks (often around the 20-30 bookmarks range), but will at least give you a place to start!
ANIME/MANGA: Bleach | Cardcaptor Sakura | Dragonball | Finder no Hyouteki/Viewfinder | Katekyou Hitman Reborn! | Kuroko no Basuke | One Piece | Sailor Moon | Madoka Magica | Naruto | Princess Tutu | Trigun | Weiss Kreuz | Yuri!!! on Ice
BOOKS: Chrestomanci | Omniscient Reader's Viewpoint
DRAMAS: Nirvana in Fire | The Untamed -OR- Modao Zu Shi
TV SHOWS/MOVIES: Community | Game of Thrones -OR- ASOIAF | Good Omens | Hannibal | Highlander | The Old Guard | Our Flag Means Death | Stranger Things
VIDEO GAMES: Dragon Age: Inquisition | Final Fantasy 8 | Genshin Impact | Okami
BANDS: Arashi
All right, whew, that was actually a fun project, despite how much work it was to hunt down a lot of older faves to see if they were on AO3, hopefully you'll find this useful!
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People keep insulting the Amazon Lord of the Rings show by comparing it to fanfiction when really it's the EXACT opposite of fanfiction! It's so interesting/awful because it's like the ultimate ANTI-fanfiction!
I was talking to someone the other day and wasn't aware that lots of people don't know about the insane complicated rights issues happening behind the scenes of the Amazon Show but it's wild. To give a quick summary of the Battle of the Five Rights Issues, as I currently understand it:
1. Amazon only has the rights to make a show about the pre-LOTR era as described in the Lord of the Rings books-- primarily in the appendices of Return the King, where a handful of pages give a brief timeline of some events that happened before the stories. In practice this means they are unable to use nearly all of the characters, places, and events people are familiar with when they think about Middle Earth. They have to make up everything out of whole cloth-- from characters to events to settings. This is either because of timeline reasons or for legal reasons or for both. Whenever they do manage to scrounge up the rights to something you might even vaguely remember (like Mithril) they announce it with enormous fanfare like they're a marvel movie introducing an avenger.
(Parenthetical: Another weird thing I noticed is that the series features practically zero quotes from Tolkien. I only counted about like 4 lines that were edited versions of lines from the books? While this is just a wild tinfoil hat theory, It does feel to me like there might've been some kind of limitation on the amount of Tolkien's words they were allowed to use, as well as the obvious limitations on characters and plot points and etc. The show has the rights to so few things and always REALLY wants you to know when it has the rights to something. It's desperate to remind you of the original books. You would think that, when it's unable to rely on familiar characters or places or events or plot points or music or etc, they would rely instead on Tolkien's really recognizable prose/poetry/language to form an emotional connection to the original stories. After all, language is the heart of Middle Earth, the author's love of language is the reason the world was created, and the unique prose of the story is kinda the soul of why it's memorable. And again, they theoretically have the rights to everything mentioned in the original trilogy right? Theoretically? So it's really odd that they don't use almost any of the language, unlike basically every other adaptation. It might just be a weird writing decision, but it's so strange that it really makes me feel like they were limited or at least dissuaded from including lines from the books.)
2. Amazon is legally Not Allowed to feature things that were mentioned in the Unfinished Tales or the Silmarillion, despite the fact that those are the books that contain most of the stuff about the era they're theoretically adapting. This leads to a bunch of really weird stuff where they introduce things you'd only care about if you read the Silmarillion, but can't include any of the things that would actually make you care about it. Like people who Aren't deep into the lore have literally zero emotional investment in Celebrimbor, but people who ARE deep into the lore know that you can't reference any of the reasons they care about it.
3. Amazon's series is NOT part of the same canon as the Peter Jackson/New Line Cinema films. They're not. However they obviously want to trick people into thinking they are because those movies are popular and a prequel to them would make money even if it sucked (see the Hobbit films.) But again, New Line Cinema still wants to make its own LOTR content based on the slivers of rights they've managed to grab onto, and don't want Amazon to step on their toes. So IIRC Amazon actually made a deal with New Line Cinema that they were allowed to imitate their movie franchise's aesthetic (to keep the brand popular and in the public eye)........ BUT if New Line Cinema ever felt like Amazon was infringing too much on their territory, they could step in and stop it. So the show just sorta looks and sounds like a bland knockoff of the New Line films, because that's all they're legally allowed to be XD. Like they're supposed to look/sound just enough like them to trick you, but they're not legally allowed to include the specific things from the PJ films that would actually make you feel nostalgic for them (like the famous musical leitmotifs.)
4. Part of the deal was that the Tolkien Estate could step in and change anything in the show if they felt it wasn't true to the lore-- which is ridiculous because again, Amazon basically doesn't own the rights to any of the lore so they're just making stuff up anyway. From what I can tell it seems like this basically means the Tolkien Estate can arbitrarily veto any creative decisions based on whatever they've decided “Tolkien would've wanted,” which obviously limits what Amazon is able to do (and likely prevents them from actually criticizing the awful problematic elements of Tolkien's worldbuilding)
5. Ok I don't have a fifth one.
SO BASICALLY:
Yes, the Amazon series is about a bunch of original characters in almost completely original settings featuring original events and original plot points that (for the most part) doesn't even include any of Tolkien's actual words, and also isn't affiliated with and doesn't include the recognizable things like musical motifs from the New Line Cinema films. But that doesn't make it fanfic.
Because fanfiction is when you take another's person's characters and stories and write your own weird personal take on them, even if you don't legally own it. Who legally owns the copyright is irrelevant in fanfiction. Fanfic it's about writing a story with the characters and world you love, about transforming a story you're passionate about even if you don't legally own the rights.
Amazon Rings of Power is what happens when an entire show is completely written around what you legally own the rights to. Every aspect of it only exists as an elaborate tap dance around copyright infringement.
Again, I think the Amazon series is more interesting as "a study of how corporations/megafranchises can do massive harm and also weaken our ability to create good art" than it is as a tv show, alskdjfsdlf.
If fanfiction is "writing something you love regardless of whether you own the rights" then Rings of Power is "writing whatever fits within the extremely narrow box of the rights you happen to own."
And that makes it....a very strange thing to exist! It’s kinda a shining example of how giant media monopolies and copyright laws designed to benefit them end up hamstringing everyone’s ability to create meaningful art, even the corporations themselves.
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No, Amazon’s Rings of Power is not “woke”
It annoys me so much when people complain about Rings of Power being “woke.” First of all, because of the way they overuse the word, woke has become a next-to-meaningless term that can be applied to anything conservatives don’t like. Second, Rings of Power is only progressive in the most surface-level way; underneath that it is in fact extremely regressive. People who whine about Rings of Power being woke are not only annoying, they’re also just plain wrong.
Ever since the casting was announced, right-wing idiots have been shrieking about Black actors being cast in Rings of Power. These trolls have made all kinds of dumb statements about how Middle-earth = Europe, but they seem willfully ignorant of the fact that Europe has never been exclusively white, and there is no reason to exclude people of color from the cast of any Tolkien adaptation. Still, this didn’t make the show progressive in its casting (which was tokenistic) or its writing (which ranges from bad to horrible).
For instance, the only storyline Amazon writers could apparently think of to introduce Arondir was literally him being enslaved. I mean, really? Is that really the best plotline to go with? To be clear, I’m not criticizing the actor, I’m criticizing the writing. In addition, Amazon cast actors of color overwhelmingly in parts invented for the show—rather than as actual Tolkien characters—which more easily allows them to be sidelined by the narrative, and the casting overall was in no way diverse enough. So I find it bizarre that people criticize the show for its so-called wokeness, when very little effort was made from a diversity and inclusion standpoint.
Right-wing nutjobs also threw a fit about Amazon portraying Galadriel as a warrior, to the point where they started calling her “Guyladriel.” They whined about Galadriel being too feminist and too masculine in the show, but that’s the opposite of what happened and betrays a fundamental misunderstanding of Galadriel as a character. First of all, she fought at Alqualondë in one version of the story, so no one should have a problem with her wielding a sword. What IS a problem is everything else about her portrayal.
Amazon’s writers took one of Tolkien’s most interesting characters and stripped her of her power, her authority, her gravitas, her wisdom, and her ambition. They had Gil-galad, her younger cousin, order her around. They had Elendil compare her to his children, even though she’s older than the sun and moon. And they made her a petty, naïve, incompetent brat whose entire first season involves being manipulated by Sauron, and as if that wasn’t bad enough, having a bizarre will-they-won’t-they relationship with him. In addition, Galadriel is canonically tall and strong, and one of her names means “man-maiden,” but they made her short and waif-like instead.
Galadriel in Amazon’s show doesn’t even resemble the character Tolkien wrote—the character named Nerwen, who never trusted Annatar, who certainly never had some creepy Reylo thing with him, who was powerful and wise and authoritative, who had a marvelous gift of insight into the minds of others—not a quippy, rude, annoying idiot who is constantly being controlled by the men around her. I don’t know why anyone would look at Rings of Power and think this portrayal is progressive. It’s actually a failure of imagination: Amazon’s writers literally cannot conceive of a powerful woman even when all of the work of imagining her has been done for them.
In addition to the faux-feminist-and-actually-sexist portrayal of Galadriel, Rings of Power is also on the whole weirdly regressive from the standpoint of gender roles and gender expression. Tolkien’s Elves are canonically tall, beautiful, and long-haired, regardless of gender. Tolkien’s Dwarves all have beards. So what did Amazon do? They gave most of their male Elves short hair, while the female Elves still have long hair, and they did away with female Dwarves’ beards. They patted themselves on the back for “letting” Galadriel fight, but don’t show other female warriors—in battle scenes, for instance, why are all the soldiers male? In general, they made their characters adhere to conservative gender roles and gender expression, which is especially glaring because it contradicts what Tolkien actually wrote.
On top of all this, they decided to throw in some anti-Irish stereotypes with a side of classism, just for fun. They had the ragged, dirty, primitive Harfoots speaking in Irish accents, while the regal, ethereal, advanced Elves speak with English accents. None of the actors playing the Harfoots are Irish themselves, to my knowledge, which makes the choice to have them speak this way especially questionable. Seriously, who thought this was a good idea?
All in all, it makes absolutely no fucking sense to criticize Rings of Power for being woke. It may look progressive on the surface because there’s a Black Elf and a woman with a sword, but that’s as far as it goes. The show isn’t particularly diverse to begin with, and it treats its characters of color poorly. Galadriel’s portrayal is disgustingly regressive, as is the show’s overarching take on gender. This is to say nothing of the caliber of the writing in general, which is unsurprisingly low. There is so much to criticize—like the nonsense about mithril, or the fact that Celebrimbor of all people doesn’t understand alloys, or the fact that you can apparently swim across the Sundering Seas now—which makes complaining about the show’s supposed wokeness especially irrational.
I also have to wonder if the people still whining about wokeness know anything about Tolkien’s works. Do they know that the crown of Gondor was based on the crown of the Pharaohs of Egypt? Do they know that Tolkien considered Byzantium the basis for Minas Tirith? Do they know that female warriors already exist in Tolkien’s books? Do they know when they rant about how much they hate “Guyladriel” that Amazon’s portrayal is actually too feminine? Ultimately, people who complain about wokeness in Rings of Power—or any Tolkien adaptation—are just betraying their own idiocy. I honestly think if Tolkien’s books were published now conservatives would scream that they’re woke too.
#anti rings of power#my writing#to be clear I have not watched this monstrosity and never will#I have unfortunately learned all these things about its horrible plot regardless#please no one comment on this post telling me that I have to watch it in order to make criticisms - just no
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Word of warning we just got a ton of possible leaks about season 2 of "Rings of Power" coming from The One Ring Net source. However, I will point out while a few of these seem possible this reminds me a lot of other "leaked" things for my other fandoms, especially DC and Marvel movies/shows, and most of those turned out to be false and fans just posting things for their own enjoyment. However, this is how it first leaked that Halbrand was Sauron before season 1 aired. Some of these do match scoops/spoilers we've gotten from Fellowship of Fans an interviews with the cast, but some of these are so out of left field. I'll post a breakdown under a cut of the major ones but you can see the post in full here. But I will point out some of these would be massive changes to the lore that even I'd be shocked if they do it, so again we'll see.
So the first thing that matches what FOF and even Charlie Vickers teased is that season 2 is going to show a lot of Sauron flashbacks and tell his side of the story and that we'll be in on his plans the whole time. But according to this post the Mairon version is a separate actor and that Gavi is actually the Annatar version but Halbrand/Charlie is still the main one going forward.
They're saying the Tolkien estate gave Amazon more access to "The Silmarillion" and we will see all the Valar, Maiar, Eru (he's just a voice though so we won't see a person), Melkor/Morgoth, Mairon (even called this name), Gandalf/Mithrander (who is Daniel's The Stranger), and even Ungoliant as we get this full backstory in the show.
Halbrand will go back to the dwarves and reveal he's Mairon to them and they truth him because of Aule.
It'll be revealed that Sauron/Mairon had a son and Adar killed him, which was why the line Adar said about "a woman or a child" was said in s1. No idea who the boy's mother is but possibly Amelia Kenworthy's character. This is a huge departure but would be interesting to have Sauron/Mairon/Halbrand actually have been a father and the 2nd Maiar besides Melian to have children.
Gandalf/Mithrander will also have flashbacks, including that he almost sided with Mairon, and even introduce Shadowfax.
Tom Bombadil and Goldberry will appear, which we already saw a leak about this possibly happening last year.
Supposedly Halbrand/Sauron does keep up his infatuation with Galadriel but actually goes back to Eregion not as just Annatar but as Celeborn!!! 😮 So they don't rescue Celeborn after all but it is Sauron/Halbrand and it's making it sound like there's romantic scenes between them but again it's actually Sauron/Halbrand with Galadriel and not Celeborn. I know some of us Haladriel shippers have written this exact thing in our fics and if this really does happen that again hints that Sauron/Halbrand really could be Celebrian's biological father which I would be shocked if the show did this even though I'd also love it. LOL Then add in if they do this change where Sauron had a son that died and possibly ends up having a daughter with Galadriel. It does sound like the real Celeborn does come back too at some point so if this happens this is going to be interesting, even though I know a lot of the purists and regular LOTR fans might hate it.
The season does end with Sauron forging the One Ring, which FOF has also been speculating. The thing is if Galadriel will be with him when he does as FOF reported on her being captured by Adar during the Battle of Eregion with this also confirms happens in the last 2 episodes.
They're also saying too that the season will also end with Galadriel making a choice to save either real Celeborn and/or Sauron/Halbrand as Celeborn, which again could point to above that she gets captured and then decides to stay with him. So this is going to be very interesting if any of these turn out to be true.
#the lord of the rings#the rings of power#spoilers#sauron#mairon#annatar#halbrand#charlie vickers#haladriel#galadriel x halbrand#galadriel#celeborn#celebrian#morgoth#gandalf#shadowfax#eru iluvatar#ungoliant#tom bombadil#goldberry#adar#amelia kenworthy#morfydd clark#calam lynch#daniel weyman
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Wait, what's going on with Neil Gaiman rn???
Joined Amazon's "if they don't like Rings of Power they're racist" campaign.
Which it's not true. Amazon massacred the lore and the worldbuilding, but since they're having CWs Batwoman (1,8 millions in the first episode last time I checked. Those are CWs Batwoman numbers) levels of rating they need to get Twitter to talk about them I guess.
Got into discourse over Lenny Henry's hobbit (the dude who said "WE are the ones telling the story now" when the critics about the show not following Tolkien's work started). Then got into Twitter fights with some fans who reminded him he had previously said "it was wrong to alienate the fans with changes in the story" (not with arguments, but directly mocking them) and then for some reason Elon Musk got involved (I don't like Elon Musk, I'm very wary about him, but how on earth is the billionaire saying "This show destroyed Tolkien's worldbuilding" but the writer is saying "you're either racist or never read Tolkien" if you critic this???)
They insist and insist and insist it's racism. It's not. It's the lack of beards in female dwarves. It's the elves not being the ethereal angelic beings they're supposed to be. It's Galadriel being a Captain Marvel with vulcan ears. It's Elrond, heir of at least 3 different elven kings, being treated as a nobody. It's Celeborn not even being in the show because fuck Galadriel's husband who cares about him hahahaha????
It's the fact that Lord of the Rings' fans are not only fans of the Middle Earth, elves, dwarves and hobbits. We're fans of the man behind it. JRR Tolkien and his wonderful life and his love for trees and his wife and his children and languages and who told nazis to fuck off and then reminded England they wouldn't be better than them if they kept attacking the surviving germans after the war was over. We are fans of TOLKIEN.
And Amazon has said again and again Tolkien was just not important enough to respect his vision on his own creation. Gaslighting about how much "he'd love it". The same dude who rejected a movie project because a tower had an extra stair he hadn't put in his book.
And that's what happening with Neil and honestly???? NEVER follow your favorite writers in Twitter.
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I think the general idea for Batman (and DC/Marvel in general) canon is basically just the multiverse model. Like the mainline comics get respect for being the first one to exist, and of course you get the obnoxious idiots who whinge about how and deviation from the comics is Bad and Wrong, but otherwise the various different shows and movies are all their own seperate canons. Like BTAS Batman has his own canon, with only Dick and Tim as Robins and ending with him passing the Batman identity to Terry, but no one expects that to impact the comics. (Well, beyond massively popular characters from the other canons like Harley Quinn inevitably showing up in comics too.)
Basically, what I'm trying to say is that Batman as a story is big enough and has so many canons that it's really not unusual to be a Batman fan without ever reading the mainline comics.
It's an entry point thing. So take, I don't know, Middle Earth, for example. (Though technically, as broad as that phrasing is, even that isn't accurate because there are other places outside of Middle Earth that are still within the same universe. Don't come at me.)
There's capital C Canon, and that's the original books as penned by J.R.R. Tolkien (though even he dabbled in some metatextual rewriting with the retcon of the Ring between The Hobbit and The Lord of the Rings but we won't get into THAT right now.) The world of Middle Earth as a whole was created starting in the 1930s as a piece of literature up through J.R.R. Tolkien's death in 1973.
From there, though, it gets trickier. The stories of Middle Earth et al have been transformed and added to in the intervening years. Bakshi created an animated movie in the late 1970s that, because it is told in a different medium, by necessity tells a slightly different story. Is that canon? The live-action trilogies from Peter Jackson in the 2000s and 2010s, those are again different and diverging stories from the books. Are those canon? What about the added materials from Christopher Tolkien, as revised and published from his father's materials by the estate? Are those canon? What about the Amazon Prime television series? The Veggietales movie? They're ALL "Middle Earth" and all likely have functioned as the initial entry point for someone and therefore ARE capital C Canon for someone, but by design or circumstance each displays a different version of events and characterization that will necessarily conflict in small or large ways.
With comic-based canon, it can be even more complicated because Hollywood has a habit of skinning comic properties and dressing up new little blorbos in the names of older comic characters. Even I know the Nolan Batman movies look noooooooooothing like the Silver Age Batman comics and the Birds of Prey Cassandra Cain has no relation at all to any other Canon or canon depiction of her, as far as I'm aware.
So, yes. "Batman as a story is big enough and has so many canons that it's really not unusual to be a Batman fan without ever reading the mainline comics" because defining canon in and of itself is such a HARD and complicated thing to do. And I also understand why folks with a much more simplistic and rigid definition of canon (aka, their own specific, personal entry point to the world and characters) can feel so weird when they encounter someone else with a different definition.
But also I think there's an argument to be made that when the Arbiters Of Official Canon (in this case, DC) have aggressively rebooted and rewritten THEIR OWN CANON so many times without regard for continuity or even inherent internal logic, then there is no absolute authority of Canon or canon and we can all do what we want with the understanding that when you or I or anyone else gripes about "canon" and "characterization" we're speaking only within our own pocket of the bramble.
#I'm not even sure how clear any of that is outside my own head#but I Tried#I need a general ask tag#fandom#fanfic writer problems#fanfic reader problems#batman#batfam
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Hi! I've been reading a lot of your thoughts on superheroes, and wanted to ask you a question if that's okay.
I've always been interested in the genre, but lately I've gotten frustrated with how "safe" the entries play it. No matter what, there's always a Justice League, a world built on superscience, and most "importantly" of all, a Superman. I wanted to ask if all of these things a required for a superhero story, and if so, how far can they be stretched while remaining within the genre?
My conjecture is that from a bunch of directions, it’s a legibility issue.
Long swaths of rumination under the cut.
The superhero genre, out of all genres, is one of the most self-referential; it’s subject to an exaggerated, snowballing and self-reinforcing instance of the Mount Fuji Problem, as laid out by Terry Pratchett:
“J.R.R. Tolkien has become a sort of mountain, appearing in all subsequent fantasy in the way that Mt. Fuji appears so often in Japanese prints. Sometimes it’s big and up close. Sometimes it’s a shape on the horizon. Sometimes it’s not there at all, which means that the artist either has made a deliberate decision against the mountain, which is interesting in itself, or is in fact standing on Mt. Fuji.”
Superman is Mt. Fuji.
Superman is enormously popular. The first modern superhero, the one the rest of them are patterned on or in conversation with. In the early days, a lot of superheroes were just naked attempts to cash in on Superman, to the point of IP slapfights (This is how DC acquired the rights to Shazam/Captain Marvel.) In the interregnum period caused by the Wertham Scare, he was one of the only superheroes that survived and saw continuous publication. As a result of this bottleneck, superheroism is a genre monoculture; all characters conceived of as “superheroes” are only a couple of creative generations removed from Superman. All of this gives him- and characters patterned directly on him- an outsized influence in both the public and authorial perception of what a “superhero” looks like.
So fifty years down the line, when you’ve got creatives crawling out of the foxholes to try and make some superhero things that are new and innovative or parodic, a few things start happening:
Number 1. Superman is Very Legibly a Superhero. Superheroes, up until the MCU boom, were pretty niche in the mass market; a lot of pre-MCU films (and actually a lot of MCU films, this is my perennial beef) are structured in a way that makes it seem like they’re apologizing for daring to be superhero properties. Note the aversion to code names, the costuming choices made in the X-Men films, the irony poisoning. Superman was one of the exceptions to this, (Others being Batman and Spider-Man;) he’s too iconic. He’s one of a handful of characters who’s clearly a superhero and nothing else. (I’m going to return to this point later.) So if you wanted to invoke superhero at a glance in a mass-market property, making them have costumes and/or powers like Superman (sometimes with hints of Batman) was a fast way to communicate this. As the number of works that do this increase, the gravity of the bias swells because of the pool of precedent- the likelihood that your audience has seen not just Superman, but numerous parodies of Superman. (I was friends with a woman once who knew almost nothing about Superman beyond the fact he existed, but upon being told the broad strokes of his backstory, said, “oh, like in Megamind!”)
Number 2. Superman attracts the interest of Creatives and Iconoclasts. This is the non-cynical take on the above; Superman’s outsized presence in popular culture means that inevitably, a lot of really competent writers are exposed to him, grow up with him as one of their blorbos, and rotate him in their head non-stop for years until they’re finally in a position to write something. The Superman pastiches in Astro City and Irredeemable and Supreme Power and Invincible and Jupiter’s Legacy and The Authority and BNHA and Powers and on and on and on- they’re in there because the writers wanted to tell a story about superheroes, sure, but more specifically they want to yell their hot takes about Superman, who they love, out to the world. And many of these stories are thoughtful and reflective of the human condition or whatever, and so the canon of “Oh my god you have to read this” superhero works, inevitably start to contain tons and tons of Supermen pastiches. (And Batman pastiches; he’s subject to a similar dynamic.) The effect is reinforced.
Number 3. Even in niche or fan-oriented superhero works that don’t suffer from the above-described marketing pressures, familiar character archetypes are useful shorthand that lets you get to whatever novel point you’re trying to make faster. This applies to Superman, who I’ve focused on up until this point, but this is also a good point to start talking about one of the other things you mentioned, the Justice League.
In Invincible, the Guardians Of The Globe, world’s premier superhero team, are 1-to-1 pastiches of the classic Justice League Lineup. I own the ultimate collection in which Kirkman explained that choice; beyond the fact that they were very powerful heroes, and that it was very very bad for the world that they were dead, the actual nature of the Guardians was immaterial to the story. All things being equal, it therefore made the most sense to him to just piggyback off pre-existing comic book fan affection and reverence for the JLA, because his editor was breathing down his neck to get the actual story moving after the six issues of relatively low-stakes adventure that Kirkman had insisted on in order to make the reveal hurt more.
Strong Female Protagonist is (was?) a webcomic about the world’s most powerful superheroine sliding into semi-retirement after neutralizing all the superheroic threats and realizing that her actual toolbox with which to enact lasting societal change is pretty limited. There are a lot of powersets you could give to the most powerful hero in your setting; a lot of aesthetics you could give her; actually, by making her a woman at all you’re already breaking the mold. But there’s utility in starting somewhere bog-standard so that everyone’s on the same page when you start doing the social commentary.
Black Summer is a story about John Horus, the most powerful hero in the world, deciding that the only way to stay consistent with his commitment to evenly applied justice is to execute George Bush for War Crimes, explain why he did so, present the evidence, and ride off into the sunset; his five surviving teammates are then left holding the bag as a pissed off military closes in. The most powerful hero in this case is pointedly designed to look more like Magneto than Superman, but the seven-person team dynamic is clearly meant to broadly invoke that of the Justice League; this gives the readers somewhere to start when picturing what the team dynamic looked like before it collapsed, and it makes the ways in which the group is really obviously not at all like the Justice League pop.
Superhero story which are about someone needing to replace the world’s greatest superhero? Often rely on this fan-legible shorthand. (BNHA, Dreadnought, a couple others.) Stories in which the most powerful hero died as part of the backstory and left an imperfect world for the survivors? Often rely on this fan-legible shorthand. (Welcome to Tranquility, Renegades, etc.) Stories about the kid of the world’s most powerful hero trying to live up to their expectations? Often make use of this fan-legible shorthand (Sky High, Hero, etc.)
Extend it to other individual superheroes. You want to critique the economic injustice implied by superheroism, or the ways in which it would physically and socially destroy you? It’s efficient to invoke Batman or Iron Man, quintessential billionaire powerless capes, and go from there. You want to examine the hellish existence of the working-class teen superhero? Efficient to invoke Spider-Man and go from there. You want to examine the uphill battle of the female superhero in a male-dominated field? Efficient to invoke Wonder Woman and then go from there.
When you can simultaneously save time and creative energy AND demonstrate to your audience that you know the genre canon, the shared referents, the in-jokes- why reinvent the wheel?
The effect is reinforced.
Number four. In works that are about a more unconventional or unique superhero, A tertiary Superman-figure can be a useful genre signifier.
So, the obvious rebuttal you could provide to everything I’ve said so far is that the superhero genre is obviously, comically, massively more diverse than just Superman and copies of Superman. You can make a superhero based on almost anything, intersecting with almost any genre. This is, in fact, the key to the genre’s longevity; the degree to which “Superhero” is such a nebulous genre category that you can cram basically anything into it and have it work. You can remix it forever.
However, this is a double-edged sword; while a superhero universe can accommodate literally anything, many of the resultant “superheroes” are superheroes purely because they exist in the context of a superhero universe; they stop existing as such if removed from it. Blade is a superhero, but the Wesley Snipes Blade films are not really framed as superhero films. Doctor Strange, extracted from the rest of Marvel, could just be an Urban Fantasy property. Green Lantern and Nova and Captain Marvel could be yoinked out and reframed as participants in the Space Cop flavor of Space Opera. Context-scrubbed Thor could be high fantasy. Context-scrubbed Hulk could be a monster movie. Context-scrubbed Guardians of the Galaxy becomes Space Opera. Ant-Man wasn’t originally a superhero; Hank Pym debuted in a one-shot horror/adventure comic about a scientist who nearly gets killed fucking around with a shrinking formula and an anthill, and then he got retooled when Marvel realized superheroes were coming back. Logan was a fantastic film but like many X-men films it divested itself from the framing of superheroism as much as it possibly could. On the opposite side of things, you could take a property like Buffy The Vampire Slayer- generally not viewed as a cape thing- and slot it into the Marvel or DC universe without having to alter anything. If someone like Shepard from Mass Effect, with their armor and future-weapons and/or their biotic powers, crash landed on Marvel or DC Earth, they’d transmute into a superhero just by virtue of who they’re now standing next to when shit starts going down. (This is the backstory of at least three superheroes, probably more.) Superheroism is incredibly fluid. It’s incredibly modular. It’s incredibly contextual.
There are a handful of characters, though, for whom this isn’t true; as I mentioned above, they’re superheroes and nothing else. They’re the platonic implementations. Batman is one example; the most grounded and gritty version of the character ever put to film still couldn’t get around the fact it was about a vigilante in a bat costume beating up the mob. Superman is another; It’s basically impossible to make a Superman film that downplays the iconography, the power, the social position and license of the superhero. The social position and license are huge parts of this!
So, if you’re gonna write a story about a unique superhero- a superhero with a cross-genre origin, or an unconventional aesthetic, or really esoteric powers- a way to keep your story anchored in the genre is to include a Superman-style figure or a Justice-League style organization as a tertiary presence within the worldbuilding, in order to make it 100 percent clear to your audience what lens they’re supposed to view this story through, and to emphasize the contrast posed by your esoteric cape. Worm does this, juxtaposing a protagonist who controls bugs and thus has to fight like a maniac for every victory against an all-powerful Superman-analogue who exists in the background of the setting (although he swells in narrative importance in the back half.) Another example is The Shadow Hero by Gene Luen Yang, which is a comic about a Chinese-American vigilante in the 1930s who, due to a poorly worded pact with a spirit, becomes invulnerable to bullets and nothing else; a more traditional Superman Analogue called “The Anchor of Justice” exists in the background of the setting, only getting a couple of speaking lines, and is mainly used to demonstrate the double standard society applies to superheroism when someone other than a white guy starts doing it. Incredibles does this as a background gag, with the sheer number of heroes in Edna’s “no capes” montage who were clearly trying to fill the Superman niche but continuously couldn’t cut it. Valiant comics did this. Wild Cards I think did this. City of Heroes I think was doing something like this by having prototypical flying-brick Statesman as an NPC while all the PC heroes were (by virtue of being PCs) significantly more diverse and outlandish in powers and presentation. There are other examples of this juxtaposition trick that I’m not thinking of.
So, what are some works that don’t do this?
Here’s a non-comprehensive sample of works that unhook themselves from the standbys;
First off, The Marvel Universe. I think I’ve talked a few times about how the Marvel superhero community is pretty heavily dysfunctional, disjointed and fractious in comparison to the DC superhero community; The Avengers are an absolute shitshow in comparison to the Justice League, as individuals and as an organization. It’s easy to forget due to their total conquest of contemporary pop culture but Marvel was churning out unconventional cape after unconventional cape for years without stepping on DC’s toes; for a long time they were the answer to this question. Any time that Marvel has played at adding a Superman analogue to the setting, it’s usually in the context of pointing out how radically different the setting would work if there was a number-one top-tier hero like that running around.
Heroes, the first season at least, is heavily in conversation with traditional superheroism without actually featuring any of the aesthetic markers within the show itself; no costumes (because supers are simply too new as a widespread phenomena to have the institutional backing for that) no obvious Superman figure (one power per person) and the handful of cast members trying to behave like superheroes are explicitly doing so because of the existing cultural referents of fictional superheroes; by the end of season one nobody has made it all the way to the finish line in terms of costumes and codenames.
Absolution, a comic miniseries by Christos Gage about a superhero who snaps and starts playing Dexter, using his versatile forcefield powers to emulate dozens of different murder weapons so that the killings can’t be traced back to him. The setting is aggressively and deliberately street level, with almost no obvious character analogues, a host of novel powers, and “superheroes” that are universally incorporated into police departments as superpowered SWAT teams. However, the books politics are noxious; it seems that the author’s objection to the police is that they don’t kill enough people. But I bring it up because it’s visually clearly a superhero work while still having a strong aesthetic aversion to all of the tropes you specifically mentioned.
No Hero by Warren Ellis, which is about a superhero team created in the 1960s by a counter-culture chemist who stumbled upon a psychedelic drug that provides superpowers. The team is, in universe, very visibly attempting to carve out an aesthetic identity independent from that of traditional superheroes, brutally fighting crime in varied combinations of gas masks, latex, and evening wear; the group is also tiny, due to the team’s founder being rightfully paranoid that the government is going to jump on his secret recipe. It’s also an incredibly visually horrific book. Body horror galore.
Uber by Keiron Gillen is an alternate history in which World War 2 was fought by super soldiers, developed initially by the Axis and then by an increasingly-panicked America and Britain. The project of the comic was to repudiate the idea of the superhero as an individualist figure who can overcome anything through grit and moral righteousness; in the words of Gillen, it’s a comic about how Galactus is going to beat Spider-man, every single time. In keeping with this, the superhumans are fairly cookie-cutter (developed in batches down known lines of research) the outcome of superhuman fights are determined purely by which of the two superhumans were better made, and as military projects the “heroes” are named using the same conventions as battleships (USS Colossus, HMS Dunkirk, etc.)
Watchmen is an interesting situation. The one powered hero, Dr. Manhattan, is mainly used as an exploration of Superman’s geopolitical impact- the effects of the most powerful thing in the world being an American agent. But in terms of actual origin and aesthetic Manhattan is primarily in conversation with the Marvel Stable; a lab-accident origin, space-age energy powers, presence within the setting’s second wave superhero resurgence rather than having gotten in on the ground floor. That one is picking and choosing recognizable elements in order to do a bunch of different things at once.
Most of these tie back to the Mount Fuji thing; the absence of immediately recognizable figures in these works are, due to the volume of precedent, themselves a very pointed and noticeable choice. Sometimes even a choice the characters themselves are making within the story. And this presents a challenge to any capefic author who deliberately eschews familiar archetypes because they’re sick to death of them; go too far out of your way to excise Superman from your story, and you run the risk of just providing implicit commentary on his ubiquity instead. Damned if you do, damned if you don’t.
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One last note; you clarified in DMs that the “super science” you were referring to was that of the crop of pulp heroes; Doc Savage, The Shadow, The Phantom, et al et al. I think something different is going on here from everything else I’ve been going on about. When superhero settings incorporate these proto-heroes, it’s part in-joke and partly a nod to legacy; these were the characters immediately preceding Superman and Batman, the prototypes, the incubators for a lot of ideas and aesthetics that later superheroes would take and run with. Many 1930s-1940s superheroes are visually the “missing link” between the two genres; examples of this include The Spirit, The Sandman, and The Green Hornet. In superhero settings that are built “from scratch” outside of the big two, with a setting history that stretches back before the 1930s, it’s therefore common to incorporate a few figures patterned along these lines as a form of tribute. The flip side of this is that the archetype is also very easy to attack and parody; many of the pulp “men of science” were predictably tied to very yikes-inducing ideas about race, gender, and so forth, and thus if you want to criticize the basic assumptions of heroism, one way to do this is to take the archetypes at the root of the genre and then make them period-appropriate jackasses.
I’ll cop to being significantly less informed about this last bit, and thus significantly less confident in the conclusions I’m drawing about it; I’m therefore going to refer you over to @maxwell-grant, who’s very into the pulp hero side of things and can probably give you a more informed perspective both on how the science hero types informed the development genre, and the varying degrees to which they’ve hung around as both objects of tribute and parody.
#thoughts#asks#superheroes#marvel#dc#meta#media analysis#this ran pretty overlong but I think I covered most of the bases#But I'll acknowledge there's a decent chance I overlooked some important element you were trying to get at#so feel free to follow up if this didn't get at everything
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Writers Truth or Dare Ask Game - SotWK Answers
Link to game is HERE,
🍓 ⇢ how did you get into writing fanfiction?
I was in 4th grade and my friends and I really wanted to date the Backstreet Boys. We discovered fanfiction was the most fun way to do it. We would write our lil’ self-insert love stories in notebooks that we would pass around and share.
🌵 ⇢ share the link to a playlist you love
Pumped Up Pop. I’m a 90s kid and Pop runs deep in me.
🔪 ⇢ what's the weirdest topic you researched for a writing project?
I don’t think anything can be considered weird for a writer doing research anymore. But one thing I remember working extra hard on was researching how to pilot a jet for a Marvel action fic. That’s why I admire and commiserate with @scyllas-revenge for her helicopter piloting scene in BLCI.
🐇 ⇢ do you prefer writing original characters, reader inserts, or a mix of both?
Mix of both. Reader Inserts to make others happy, OC fics to make myself happy.
🍄 ⇢ share a head canon for one of your favourite ships or pairings
I would write an entire essay explaining this one, but in the SotWK AU, Elvenking Thranduil and Elvenqueen Maereth are metaphorical avatars for the Valar couple Oromë and Vána, and were destined to be such (as they were destined for each other). The qualities they each possess which make them similar to these Valar--Thranduil's strength and skill as a protector/warrior and Maereth's gifts for nurturing and fertility--are what safeguard and sustain Eryn Galen for thousands of years, holding their people fast even against Sauron.
🌻 ⇢ tag someone you appreciate but don't talk to on a regular basis
@talesfuzzy is constantly on my notifs since she likes so many of my posts on a daily basis. She also reblogs some of the best Tolkien content, which I often put into my own queue. We don't really talk, but she's like that friendly person you see on your daily commute whose name you might not know but you smile and nod to each other till they've become a comfortingly reliable part of daily life.
❄️ ⇢ what's your dream theme/plot for a fic, and who would write it best?
I would LOVE a thrilling action fic where Thranduil and all five Thranduilion Princes march into battle at the same time and completely crush the enemy because there is possibly no greater or more fearsome fighting team left in Middle-earth. However, such a plot would violate my own AU’s headcanon, because in Thranduil’s family, there is a hard rule that the Thranduilions can never all be fighting in the same battle at once; Thranduil simply refuses to risk his family that way.
I would hire/nominate/beg @ass-deep-in-demons to write it. If you’ve read her fic, “Under Our Darkening Skies”, you’ll know she’s the top pick for incredible and cinematic battle scenes.
🍅 ⇢ give yourself some constructive criticism on your own writing
I find myself reusing a lot of the same lines and expressions, especially when describing character emotions and actions. Sometimes I feel my writing is pedestrian and boring, especially compared to many other writers in the Tolkien fandom who have such eloquent, sophisticated styles and brilliant, creative word choices. I'm quite soppy and sentimental too, but that's just my thing.
🌸 ⇢ do you have any pets? if you do, post some pictures of them
Sadly, I have not had a pet since my early 20s. I had plenty of them growing up, though, including my beloved yellow Lab. Once my kids are old enough to share in pet care duties, we are definitely getting a dog.
🧸 ⇢ what's the fastest way to become your mutual?
Talk to me about my Thranduilion Princes, pretty please! (There are many easy ways to be Moots with me, but this is a guarantee and the fastest way!)
🐝 ⇢ tag your biggest supporter(s) and say one nice thing about them
I am lucky and grateful to have a solid band of supporters, but I want to grab this chance to send a special shout out to @achromaticerebus. She has been a big supporter of my Thranduilion Princes since she discovered them early on, she comments on ALL my Thranduil/Thranduilion stories, she gushes about them to me and with me, and her enthusiasm just keeps me motivated. She is not herself a writer, and it's so rare to find a friend so willing to just be a reader and supporter, when there's really no way to “pay back” her kindness.
🏜️ ⇢ what's your favourite type of comment to receive on your work?
Point out even just one specific detail or line of dialogue and tell me how it made you feel, your thoughts about it, or even ask a follow up question! I am most impressed when a Reader points out an Easter egg or interesting tidbit/headcanon/lore I included. I am over the moon when their comments show they are familiar with my other fics or my SotWK AU as a whole… it means they've really invested in my stuff.
🐚 ⇢ do you like or dislike surprises?
I enjoy being wholly surprised (good surprises, of course), but I don't like being told “a surprise is coming” and having to then think about it or stress out until its arrival.
📚 ⇢ what's the last thing you wrote down in your notes app?
A work-related reminder, which is boring. So I'm gonna answer this question by sharing something I wrote in my “Scratch Dump” document that I use for my headcanon drafting: Inscribed on the blade of the sword was Mirion’s personal oath to his people, written in Silvan: “Until my last breath, I will serve.”
🥐 ⇢ name one internet reference that will always make you laugh
It’s probably because I’m fairly new to it (and because I enjoy the song/video), but the concept of internet friends Rickrolling each other as a prank seems so funny and wholesome to me.
🎨 ⇢ link your favourite piece of fanart and explain why you like it
I made a separate post answering this HERE.
Thank you to all my awesome friends who jumped in to send me these Asks! This was fun and made me feel good about myself as a writer. Love you guys!
@lady-of-imladris @erathene @unethicallypleistocene @fishing4stars @Hobbitwrangler @quillofspirit @from-the-coffee-shop-in-edoras @niennawept @malzenn @melpomaenofimladris and that one Anon friend!
#sotwk answers#ask game#get to know me#writer asks#Writers Truth or Dare Ask Game#i have the best mutuals#writer stuff
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20 Questions for Writers
Thanks for the tag, @musewrangler! This looks fun.
1. How many works do you have on AO3?
94.
2. What’s your total AO3 word count?
852,051. (Holy cow.)
3. What fandoms do you write for?
A lot! Tolkien, Star Wars, Marvel, and Hornblower are the ones I've written most for, but I've also written stories for the 1985 movie Silverado, and for The Three Musketeers, Dune, The Hunt for Red October, and 20,000 Leagues Under the Sea.
4. What are your top five fics by kudos?
Jat'ca'nara, The War of the Ring, Pirunir Sur'haaise, break my bonds and be bound to me (what. the. heck.), and Ba'slan Shev'la.
I will admit, I was not expecting all of those. The Star Wars ones (all the Mando'a titles) make sense, WOTR is my first and longest fic and also in the Tolkien fandom, but break my bonds is one of the RAREST of rare pairs and despite it being in the Star Wars fandom too, it's focussed on some comparatively minor characters, so I am...very surprised by that.
5. Do you respond to comments? Why or why not?
Yes! Always. I love receiving comments so the least I can do is respond to them. Also, I nearly always have thoughts to share with my readers in response to their thoughts on my fic.
6. What’s the fic you wrote with the angstiest ending?
Unquestionably Cuyan'e. It's a character study of two very deeply broken men who have both lost everything, one at the hands of the other, and it earns its 'hurt no comfort' tag. The title means "Survivors" because they're both the last survivors of their families. It's very unusual for me to write a fic this painful without putting in a happy ending, but that story pretty much showed up to my brain written the way it is, and when that happens I write what I'm given.
7. What’s the fic you wrote with the happiest ending?
That's much harder to answer than the last one! A significant majority of my fics have happy endings, or at least happier ones than canon. However, I'll have to go with Tegaanal, the climax of my Star Wars fix-it series, because it's such an earned happy ending and we watched the characters fight for it every step of the way.
8. Do you get hate on your fic?
Nope! I review my comments on the first couple of fics of any series, until I have an idea of what my reader base is like, and that seems to ward off the weirdos.
9. Do you write smut?
Heck no. I don't need that in my head.
10. Do you write crossovers?
On occasion! Usually because the muses show up and start jumping on the table banging pans together until I write them something.
11. Have you ever had a fic stolen?
Not to the best of my knowledge.
12. Have you ever had a fic translated?
No, but I HAVE had a piece of music inspired by a fic. I wrote a poem (in Mando'a and in English) for Partaylir, and the absolutely fantastic Siena_Alexandria actually wrote a tune for it and recorded the result. If you like Mandalorians, Mando'a, conlangs, or just good music, listen to it here! (Each chapter is a different version of the poem.)
13. Have you ever co-written a fic?
Yep, several! Mostly with @musewrangler.
14. What‘s your all-time favourite ship?
I don't really have one, as I don't tend to get all that deeply invested in ships. Characters, yes, but not specific ships. I guess I have a soft spot for Walon Vau/Shmi Skywalker, though, since it's a canoe I launched all by myself (see my boggled reaction to break my bonds and be bound to me being one of my most-kudosed fics above).
15. What’s the WIP you want to finish but doubt you ever will?
*grits teeth* I. Will. Finish. All. My. WIPs. (There's only one that is arguably in danger of abandonment, Of the History of the White Tree, and I'm going to come back to it as soon as I've reread the source material.)
16. What’s your writing strengths?
Hmm...I would say it's my character writing, above all else. Once I have a clear mental picture of what someone would or wouldn't do, I can basically drop him into situations and just let them play out and see what happens, pretty much trusting the character to respond the way he should. A lot of my fics consist of this, and the consensus from my readers has been that I do it well.
17. What’s your writing weaknesses?
Strong emotions, and people who are open with their emotions, are difficult for me to write. Whenever I write a scene that involves feelings and vulnerability, I have a holy terror of becoming kitschy. And people who actually show their emotions voluntarily by default are kind of a mystery to me, so I don't really write them because I don't understand them.
18. Thoughts on writing dialogue in another language for a fic?
Fun to do when I know the language and/or enough of it to get by! I put in quite a lot of Mando'a for my Star Wars stories and I enjoy working within the constraints of its limited vocabulary because it forces me to pare down my usually verbose writing style into just the core of the meaning I intend to convey.
19. First fandom you wrote for?
Tolkien! My first, most lasting, and perhaps dearest fandom.
20. Favourite fic you’ve ever written?
HOW CAN I PICK JUST ONE???? My favourite fic is nearly always the one I'm writing now, though, so right now it's So We Can Learn to Pick Ourselves Up, the latest instalment of what started as post-Endgame MCU fix-it and has now grown into a live-action Spider-man multiverse fix-it.
No-pressure tags for @ramblingsofachristiannerd, @hollers-and-holmes, @lady-merian, @ghosts-and-blue-sweaters, @thatonebasicfan, and anyone who'd like to jump on!
#winter says things#tag game#my writing#the war of the ring#cin vhetin#requiem fic#tolkien#marvel#star wars
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20 Questions for Fic Writers
Thank you for the tag, @i-did-not-mean-to!!
And.... we're off...
1. How many works do you have on Ao3? 36
2. What’s your total Ao3 word count? 2,583,909 (just about everything i write tends to go novel length and when my muse cooperates, look out!)
3. What fandoms do you write for? Tolkien - The Hobbit and LOTR, and most of the characters played by Richard Armitage.
4. What are your top five fics by kudos? After the Fire, More Than Meets the Eye, Brilliant Disguise, Where I Belong, In This Moment
5. Do you respond to comments? Almost always. It might take me a while, but I try to respond to every one.
6. What is the fic you wrote with the angstiest ending? That would be The River which was a short piece of about 3k words that takes place right before Thorin starts out for the Shire and the Quest to retake Erebor.
7. What’s the fic you wrote with the happiest ending? Pretty much everything else (Where I Belong is more bittersweet than flat out happy). I write romance and one of the hard and fast rules is an ending that is either happy or happy for now. And I am an absolute sucker for a happy ending.
8. Do you get hate on fics? Not so much hate, but useless criticism (and yes, unless a writer has specifically asked for a critique, criticism is useless so save yourself the time and trouble and don't bother with it. Don't like something, don't agree with it? Write your own story how you want it. I'm not even nice about that any more.)
9. Do you write smut? If so, what kind? Sure. I write steamy in general, but Good Trouble, The Chance You Take, Playing with Fire, Damaged Goods, Miss Fortune, Seven Days, and Better Days are the smuttier of my fics.
10. Do you write crossovers? What’s the craziest one you’ve written? I've written crossovers for Richard Armitage characters - Guy of Gisborne/John Porter
11. Have you ever had a fic stolen? I doubt my fics are good enough for anyone to steal, so I'm thinking no.
12. Have you ever had a fic translated? I'd be very surprised if I have.
13. Have you ever co-written a fic before? No, and I don't know that I'd be able to do it, either. I'm far too set in my ways and doing things the way *I* think they should be done and telling the story the way *I* see it.
14. What’s your all time favorite ship? Thorin x OFC
15. What’s a WIP you want to finish but doubt you ever will? I don't have any. I almost never orphan a story. It might take me literally years to finish it, but it will be finished.
16. What are your writing strengths? I write fast and clean (meaning my edits/revisions are usually minimal) and judging by a lot of the comments I receive, I write very good and natural dialogue
17. What are your writing weaknesses? I sometimes have trouble slowing action down, as I usually want to get right to the meat of the story. I also can't always translate the images in my mind to the words on the page.
18. Thoughts on writing dialogue in another language in fic? I write using other languages sparingly - usually just enough to give the reader a feel for the character. It's too easy to fall into linguistic stereotypes otherwise.
19. First fandom you wrote for? Marvel. Loki, specifically.
20. Favourite fic you’ve written? This one is a three-way tie between More Than Meets the Eye, After the Fire, and Something in the Night, (my current WIP) because all three have heroines who are very unique - Arielle is not only trying to pass herself off as her twin brother, but she rambles when she's nervous, Jasna is a medical student who stutters, and Nina is a bounty hunter seeking revenge against a certain dwarf king. All three were and are fun to write.
And now for the no-pressure tags!
@evenstaredits @sotwk @fizzyxcustard @frosticenow @glassgulls @sunnyrosewritesstuff and anyone else who'd like to answer! :)
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Hey anon, I have screen-shotted your ask because I am going to try stay out of tag/term searches here, which in an of itself probably answers your question XD
So! Thoughts as they occur to me!
I did give the whole first season a watch. Partly out of giving it a chance, partly out of morbid curiosity, like when you can't look away from something awful happening in front of you even when you really want to close your eyes.
What I think is interesting actually, is that my main issues with the show have somewhat changed since I initially watched it. While watching it my only thoughts were "wrong, wrong, that never happened, wrong, wrong, wrong, look how they massacred my boy (gn), wrong!" And while those thoughts themselves haven't changed my main issues have changed to focus more on how it's such a badly structured story (the timelines feel both stretched and compressed in a way that doesn't add anything to the stories being told) and how I don't think it knows yet what it wants to be (it's Tolkien, but it's its own thing, but it's a 'prequel' in the very modern franchise sense of the word to the PJ films, but it's also not those films).
For the structure, I personally wouldn't have put two major stories into one show. I don't think there's the time for that. Both the Akallabêth and the creation of the rings exist as very sketchy narratives that cover extremely long timeframes. Original content was always going to be needed to fill the gaps. But by putting both tales into the one show, I feel they've doubled the amount of gap filling needed while halving the amount of screentime they have for it because there's now twice the amount of canon to cover (tbf, they don't seem to want canon so maybe that's not an issue for them...). To force them to run simultanously and then add original content that isn't just filling the gaps but appears to be completely original, you end up with a story that is both too empty and too full. Nothing is getting the time it deserves. Big moments feel undeserved or rushed. It takes the wind out of its own sails. (and that's without mentioning that these stories running alongside eachother just throws timelines and motivations out of whack, but I refuse to get us all bogged down in the minutiae of my grumblings!)
It's a pity, the story of the fall of Númenor and the creation of the rings have such good parallels, but that would require them to focus on things like religion and politics etc and they seem to be more interested in mystery boxes, so... oh well?
In regards the show's identity crisis, to be fair to them, that's really not that unusual in first seasons. They're not special XD Let's face it, how often have we all been recommended something that came with the caveat 'you need to get through the first few episodes/first season before it gets good and finds its feet'? Especially fantasy and sci-fi that has to establish facts about the world as well as characters in a way a drama set in the real world doesn't. I wouldn't be shocked to learn that the show hits its stride a bit better in later seasons.
However, my current biggest gripe with the show is what I'm seeing in the writers' attitude to storytelling. I can't stand it. The actor for a certain someone whose name begins with H didn't know who his character really was until after shooting the first few episodes. There's the back and forth of is it H or the guy who fell from the sky who'll turn out to be the villain. Sky man even gets some stalkers whose only purpose was to add confusion to this situation and then be immediately killed, no further context. One of the writers (I don't remember who) when asked about deviations from canon said something to the effect of 'we don't want book fans to be episodes ahead'. It's the modern Marvel school of story-telling. It's mystery boxes and twists and fears of spoilers and people knowing what's coming next. That's not how you tell a story. You need more substance than that. Big moments are only interesting if you've earned them with a well crafted lead up. And what's the point of a big moment if it adds nothing to the story in the first place. They had one of fantasy's most iconic villains, why was there a secret? The Second Age is where he's cracking out his most rediculous long cons. The man's twirling his mustache while kicking up his feet and writing 'evil' into every date in his diary for at least a millenium, what does a secret identity add to this story really?
Don't worry, I will move swiftly on from the topic of my boy who is not really my boy before we get in too deep... No one needs to hear that... But do you get my point? Big reveal. No substance.
To add a note of positivity, I actually really like Sky man's music. It's genuinely a really nice piece of music. I also liked that they wanted to add one of the 'original' orcs, that's a cool concept!
Oh! And whoever okayed those American 'stage-Irish' accents needs to be fired into the sun :D
#anonymous#answered asks#sorry for being vague i'm jus trying to stay in my corner#it's nice here#hope it makes sense?#i didn't know how much or how little detail you wanted so you got a weird middle ground
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9 books
I have been tagged by a bunch people on this (thanks @cricketnationrise, @clottedcreamfudge, @kiwiana-writes, @tintagel-or-cockleshells, @myheartalivewrites, @cultofsappho), so I guess I better do it even though choosing my 9 favorite books sounds impossible. A bunch of these are series, almost none of them are in any way new. Let's go!
Lord of the Rings by JRR Tolkien
A perennial favorite. Fun fact, I once planned to pull a Christopher Lee and reread these every year but then my hyperfixation faded a bit lol. Still love the story and Tolkien's prose.
Dune by Frank Herbert
This counts for the whole series, yes, even God Emperor. It took me a while to get to the last two books but I love them just as much, actually.
A Song of Ice and Fire by George RR Martin
Still obsessed with this story and desperately hoping we get the full ending that it deserves and not just what D&D butchered on the show.
The Thursday Next series by Jasper Fforde
The perfect combination of literary nerdery, comedy, and crime-drama intrigue!
The Hitchhiker's Guide to the Galaxy by Douglas Adams
Quite possibly the funniest book I've ever read, full stop.
Into Thin Air by Jon Krakauer
A nonfiction entry! I love all of Jon Krakauer's books but I'm also obsessed with mountain climbing (reading about it, not doing it lmao), and this one is one that still haunts me.
Blindness by Jose Saramago
Read this in college, became obsessed with the poetry and imagery of it.
A Marvellous Light by Freya Marske
Became absolutely obsessed with this one very quickly. Also I'm pretty sure the third book is going to become my entire personality when it comes out.
Dracula by Brahm Stoker
Gonna be a hipster and say I've been obsessed with this book since I was in high school, which was long before Dracula Daily.
(Also reading everyone's lists has reminded me that I really need to actually read the copy of Circe sitting on my shelf...)
I can no longer remember who has and hasn't done this, so apologies for any double tags. @indomitable-love, @mirilyawrites, @loki-is-my-kink-awakening, @wolfpup026, @tedlassc, @beskarsoshiny, @lilythesilly, @jettestar, @iboatedhere, @pragmatic-optimist, @thesleepyskipper, @heytheredeann, @swearphil, @sweatersinthesummer, @petrodobreva, @b13-maybethistime, @liminalmemories21, @nontoxic-writes, @designatedgrape, @noahreids, @leaves-of-laurelin, @celeritas2997, @orchidscript, @athousandrooms, @welcometololaland, @rmd-writes, @dumbpeachjuice, @ikeepwatchinghelicopters, @okilokiwithpurpose, @thetamehistorian, @hummingbee-o0o
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