ljósálfr gale and dökkálfr astarion! 🦋🥀 bringers of dreams and nightmares
based on the hit mobile game fire emblem heroes. download it for free today! (Please Do Not)
a lot of notes on the designs under the cut, i had so much fun with these!
gale
- the eyes on the wings are mystra's
- the colors are based on his aurora stargazing scene
- he's based on the dream-king freyr, who takes human children in unfortunate circumstances and turns them into fairies that become "their most extraordinary selves" but can never return home. he feels guilty for intervening in their fates, but the ends justify the means to grow the power of his realm :-) he mourns the fact that humans stop dreaming (as in losing their ambitions) as they grow older
(feel like this is the type of thing god gale who's slowly becoming more like mystra would do and convince himself nooo it's completely ethical i'm being benevolent actually)
astarion
- the eyes on the yellow wings are cazador's
- one set of wings are yellow inspired by his longing for the sun
- the flowers are the same flowers on his grave, the garden star-of-Bethlehem
- he's based on the character plumeria, who's the bringer of lustful dreams and is disgusted by the humans who have such indecent desires. (she's one of the humans transformed/kidnapped into a fairy) she puts up a sensual front but hates the way people leer at her. nonetheless she must deliver those vulgar desires as dreams, doing a job she hates :-) all she wants is true compassionate love removed from lust... is this ringing a bell
please don't let any of this trick you into believing feh has a good story. but also expect more feh x bg3 from me in the future lol
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Unrelated things I manage to evoke in my thesis on Beauty and the Beast, modern fairy tales and self-love (titled From Folktales to Fantasy: Beauty and the Beast, Contemporary Rewritings and Self-Love), a list (caution, long post ahead):
Hayao Miyazaki's environmental tales.
In contemporary rewritings of folktales and fairy tales, these revised critical versions often follow the major issues of the time: the feminist tales of Angela Carter or Margaret Atwood of the 20th century are amongst the prime examples, but one may just as well cite Hayao Miyazaki's contemporary environmentalist and anti-war stories.
Arthurian Legends:
Nonetheless, ages change, people’s priorities change, ways of life change, and with these evolutions, heroes and stories mutate too. They evolve, but they’re never forgotten. King Arthur and Merlin are still household names, even after a millennia and a half of legends; their stories followed the times and took on new shapes to keep on meaning something to their audience.
Le Roman de Renart and "Le hérisson, le chacal et le lion" (the hedgehog, the jackal and the lion, a traditional animal tale in North Africa, Tamazight in origin):
Animal Tales are the first chapter of the ATU Index, going from ATU 1 to 299, in which the characters are talking animals usually interacting between themselves (think Roman de Renart or the tales of the hedgehog, jackal and lion in North Africa).
*On the subject of the hedgehog, the jackal and the lion, I really recommend looking up their stories. If you like cartoonish stories of the clever fox and the stupid wolf, Tom and Jerry style, you will like them.
Narnia (actually referenced a few times, the thesis does talk about Fantasy, but CS Lewis is quoted only the once):
In the dedication of The Lion, the Witch and the Wardrobe, C. S. Lewis wrote “some day you will be old enough to start reading fairy tales again”. As the reader ages and grows up, the taste for stories also evolves.
Neil Gaiman (completely out of the blue, I just wanted to quote him at least once):
the classic tale of Beauty and the Beast with all its space left to creation easily lends itself to the new scene. “Fairy tales”, Neil Gaiman writes in the introduction to Fragile Things, “are transmissible. You can catch them, or be infected by them.” They are, in their most basic form, in the bare bones of their structures, the “currency we share with those who walked the world before ever we were here.”
Doctor Who (I will find a why to quote DW in any circumstances, just watch me):
“The Universe generally fails to be a fairy tale. And that’s where we [the helpers and the leaders, heroes, doctors, teachers] come in.” That’s where writers and storytellers come in. Crafting stories is recreating a kinder, more merciful and fair world, where good wins, evil is defeated, love is everything, good deeds are rewarded and bad actions punished, justice is served and honour is upheld.
Edith Nesbit's The Story of the Amulet + more Narnia, because I will also find a way to talk about the Pevensies:
Harper spends six weeks with Rhen and Grey, and when she comes back to DC, six weeks have also passed. This is different from most Fantasy novels which actions happens in both Primary and Secondary Worlds; from Edith Nesbith’s The Story of the Amulet (1906) to Lewis’ Narnia, the passage of time in the Secondary World never matches the passage of time in the Primary World—the Pevensies spent close to two decades being kings and queens of Narnia, and yet at their return in England, not a single second had gone by, and they were back to being children again, a fact that I have always found cruel; they were adults, competent and regal, soldiers, scholars and diplomats, and then they were back to being children, powerless and ordinary.
Yet another Narnia quote - in my defence, I use Tolkien's On Fairy Stories as one of my major reference, so I had to give some room to Lewis too - + me being very French:
C.S. Lewis does write that “adventures are never fun while you're having them” (The Voyage of the Dawn Treader, Narnia book 5), but après la pluie le beau temps—storms never last forever, and the adventure always ends. That is what Fantasy tells the reader: you will go through hard times, but there will always be joy to find after the sadness.
MeToo, Greta and Malala (I swear it makes sense):
Belle just wants to be left alone with her wood-carving tools. What introvert passionate about their hobby doesn’t understand that? Lucie wants revenge on the man who hurt her; that is the whole point of the MeToo movement. Nyx wants to save her people and is ready to sacrifice herself for the cause; real life heroines fighting for their ideals are the idols of today (Greta Thunberg, Malala Yousafzai…). Harper represents the everyday life of millions of poor, disabled people, not only in the USA, but across the world. Beast wants to be loved; don’t we all?
*I actually really love that one tiny paragraph.
The "we live in a society meme" (aka the beginning of the descent into madness of the writer):
In meme terms: “we live in a society”. And that society can be crushing, draining, destroying. How then does one uphold one’s sense of self and worth when everything conspires to ruin and empty one’s heart and mind? Even though the meme is originally absurd, it quickly became a satire of the world in which we live now, where there is no place nor time to slow down, to just breathe, to take care of others, to take care of one’s self, because there is always a bill to pay, a meeting to run to, a deadline looming close, a train to catch.
Queerness (by the way if you guys know any queer retellings of B&tB please send them my way):
Depending on one’s level of ease and comfort, the co-existing inside the community requires more or less efforts and concessions to one’s authentic identity and tastes. Consider, for example, the way homosexuality and any form of queerness have been and are still viewed in many parts of the world throughout time: the main history of the queer community is to hide away an authentic, personal part of who they are in order to stay safe within a larger community that discriminate against expressions of queerness.
The "mortifying ordeal of being known" meme (sos, the writer has lost the plot):
By agreeing to play the game and follow the rules, no matter how adverse to one’s authentic nature, we tacitly agree to be seen. There is another meme, that first appeared in an essay for The New York Times in 2013: “the mortifying ordeal of being known”. The full quote goes like this: “If we want the rewards of being loved we have to submit to the mortifying ordeal of being known.” In essence, trying to hide and conceal one’s authentic self is to deprive yourself from being truly known and loved for who you are; it is to take the risk of being only superficially known and loved for who you pretend to be, the role you play, the mask you wear.
The "I can fix him" meme (what the heck is the writer talking about):
Here is a third meme, much more recent, born on Twitter in 2019: “I can fix him. I can make him better.” While the urge to help your neighbour is perfectly honourable, it can sometimes take on a sort of narcissistic veneer: it becomes no longer about the person you want to help, but about the power you can exercise over that person by turning them into the exact image of them you have, no matter if this image coincide with their authentic self or not.
Shakespeare (hell yeah, finally! Okay, it's not R&J, but still; who am I if I am not rambling about Willy):
The self is not a stable entity. It evolves, adapts to its circumstances, to the situation at the hand. “All the world's a stage and all the men and women are merely players” (As You Like It, 2. 7. 139), Shakespeare was already writing at the end of the 16th century. The deal has not changed. Everyone keeps playing a part that they believe is what society demands of them.
And finally... Kintsugi. Just for fun:
The Japanese art of kintsugi consists of repairing broken pottery with gold, letting the breaks and the defects visible, thus making them part of the history of the piece. Being broken therefore is not a sign of weakness; it becomes another sort of beauty, a sign of strength. The Beast’s curse breaks him down to his base nature, but ending the curse does not mean that the breaks disappear.
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