#feyre x tamlin

[sukaaxo]

does anyone else find the High Lords forgiving Rhys so quickly at the meeting but convinced Tamlin was evil as just a really ridiculous attempt by SJM to really reinforce Rhys as the ‘good guy’??

like let’s look at it from Prythians pov -

Rhys. the most feared High Lord. his court known for leaving no survivors. <500> years of known torturing and murdering anyone who crosses him. leaves dead bodies in peoples courts for the jokes. aligned with Amarantha nearly immediately and completed all the tasks she requested of him. was a bitch to everyone who came across him. literally kidnapped Feyre.

Tamlin. the High Lord who didn’t want the role. plays the fiddle with his people and allows them to roam around his manor. took in Lucien and other fae and gave them a home with no complaints nor compensation. never trusted Amarantha and told her he’d rather be with a human than her ass. spent years refusing to send his friends to their deaths and to force a human into his lands. sent said human home to save her even if it meant him having to be with Amarantha. refused to acknowledge said human when she went UTM so that she wouldn’t be harmed. killed Amarantha.

yet Rhys waltzes in, shows his wings and goes ‘lol it was all a lie guys, im acc a nice guy’ and the High Lords are all like ‘omg yes queen, hooray we love u’ but Tamlin goes to Hybern for 5 mins to save his fiancé and they’re like ‘ew he’s so evil, we hate him and will never forgive him’

lol ok

#lucien vanserra #acotar #tamlin #rhys acotar #rhysand #anti feyre #feyre acotar #feyre x tamlin #anti rhysand #night court #prythian

[gigi-drxws]

Tamlin and Feyre from the ACOTAR series

•

finally finished the first triology and i made some sketches while reading it, this was the coolest one the other one are just head studies and nonesense stuff, tbh im a lil scared of this fandom but i couldnt resist showing you how cool my mind is ngl so enjoy or scroll 🫶🏻

#acotar #a court of thorns and roses #feyre archeron #feyre acotar #feyre x tamlin #sjmaas #sjm books #sjm universe #acomaf #acowar #acotar fanart #book illustration #book art #tamlin

[yelyahrodrigo]

I saw a description of ACOTAR that said something like "poor, starving, peasant girl kills an innocent person and her punishment for murder is living with a hot, single king on his beautiful estate where she can do literally whatever the hell she wants and she still finds reasons to hate everything" and it just really stood out to me

#acotar #feyre archeron #tamlin #lucien vanserra #feyre x tamlin #tamlin x feyre #feylin #pro tamlin #a court of thorns and roses

[bookishfeylin]

It'll never NOT be fascinating to me that the romance between a feral half-starved human girl and her High Lord bf who fell for her as she was half-starved and because she was feral is written off as him thinking she'll play his perfect little cute housewife lmao

#feylin #pro feylin #acotar #feyre x tamlin #tamlin x feyre #tamlin #feyre archeron

[dopeartisanprincess]

Back on my Feylin shit. (Never left but this took me six days then it had the audacity to not save right🙃)

Partially based on @feynessupremacy drabble? Au? One shot? Idk the word, I'll link the post.

https://www.tumblr.com/feynessupremacy/729914632153841664/and-what-if-i-wrote-a-one-shot-abt-tamlin-giving?source=share

Not sure if I'm satisfied with it but I do like the idea of Feyre telling Tam she wants to get better at landscapes(she seems like more of a portrait artist.) And Tam's like okay follow me and bam a little date with their boys. Tamlin can't feel either of his arms but that's okay they're having a ball and Feyre's elated.

*He's glowing to give Feyre light and he might be overexerting himself to keep the moon up while they're out there.

#feyre x tamlin #tamlin x feyre #feylin #tamlin #feyre archeron #pro feylin #spring court

[jungliet-capuleet]

I need a fanart of Tamlin AMAZED watching The Beauty and the Beast with eyes glittering going "Is that me? Lucien you have fire like Lumiere!"

And then Lulu next day pokes Tam, who is rolled up on blankets like a depressed burrito.

Lu: Cauldron boil me, Tam! You have watched this thing 3 times already😩

Tam, grabbing the fiddle: please put it again, I'll play along this time 🥺👉🏻👈🏻

#pro tamlin #acotar #anti rhysand #pro spring court #pro lucien vanserra #anti ic #anti sjm #anti feysand #pro feylin #anti acomaf #tamlin is sweet #feyre x tamlin #tamlin fanart #tamlin

[emeriesmate]

🥀 Feylin

by starscrapers on Instagram

#feylin #feyre x tamlin #tamlin x feyre #feyre archeron acotar #tamlin acotar

[the-smut-analyst]

A defence of the Good Guy / Bad Boy love triangle

It is no secret that mainstream YA & NA fantasy gravitates towards an angsty love triangle. But is this trope's popularity due to vapid teenage vanity... or something far deeper?

Warning: in this post, I will be referencing: True Blood/The Southern Vampire Mysteries, Legendborn, A Court of Thorns and Roses, The Shadow and Bone Trilogy, Buffy the Vampire Slayer, The Hunger Games, Chilling Adventures of Sabrina, and The Vampire Diaries. Some minor spoilers, mostly relating to the romance side of things, may be involved.

I have stumbled across a bunch of articles lately analysing why love triangles are popular in YA and NA fiction - and all of them, in my opinion, missed the entire point.

Firstly, they focus entirely on the "love interests", while wilfully ignoring the fact that the romance element is often a subset of these stories, rather than the main focus (more on that later).

Secondly, these articles often attribute the appeal of the love triangle to "teenage vanity". They either directly state or imply that young women are drawn to the idea of "provoking" two men into a fight for their affection.

Look, I get it.

Or at least I get how a middle-aged man tap-tap-tapping away on his computer might draw that conclusion. Especially if the crux of his knowledge regarding female-centred fantasy rests on blog posts ripping apart Twilight.

But regardless, the fact remains that labelling YA love triangles as a conceited sexual fantasy is a gross over-simplification. Why? Because romance is rarely the point of the story. Instead, the love triangle is a vehicle through which the author complements and elevates the standard Hero's Journey plot beats.

To demonstrate this argument, I will go through each of the critical plot beats in the Hero's Journey. For each beat, I will demonstrate (with examples) how dual love interests can underscore the character development of the protagonist and highlight her emotional struggles during each stage.

The outline for this analysis will be as follows:

Introduction of the Female Protagonist / Refusal of the Call

Meet the Good Guy / Meeting the Mentor

Meet the Bad Boy / Tests, Allies, and Enemies

Death of Innocence / The Ordeal in the Abyss

Heartbreak / "Death" of the Mentor

Grief for Lost Innocence / Refusal of the Return

Self-Discovery / The Road Back Home

Female Protagonist Accepts Her New Self / Master of Two Worlds

For reference, here is a rough outline of the major plot beats in the Hero's Journey:

Alright. Time to rip apart some assumptions.

Let's go!

Introduction of the Female Protagonist

Refusal of the Call

Mainstream fantasy love triangles almost always centre a female protagonist hence why people love to hate on them. The introduction of this protagonist generally follows your fairly standard Hero's Journey opening.

We meet the protagonist, usually a teenager or young woman, going about their "everyday life" in the ordinary world.

But then the Call to Adventure comes - sometimes referred to as the Inciting incident. For Feyre (ACOTAR), this moment is when she kills a wolf who turns out to be Fae. Or for Katniss (HG), her sister's name is drawn, prompting her to offer herself as a tribute instead.

The Call to Adventure or Inciting Incident marks a point of no return - even though the protagonist might not realise it at the time. It is the moment when life as they know it ends. Afterwards, nothing will ever be the same, including the protagonist.

The following beat is usually the Refusal of the Call, where the protagonist resists any change coming their way. Buffy (BTVS), for example, wants to continue her life as a regular teenage girl instead of being burdened by the duties of being the Slayer. Similarly, Sabrina (TCAOS) is hesitant to participate in the dark baptism, scared of its implications for her ties to the mortal world.

But for the plot to move forward, something or someone needs to prompt the protagonist to leave the "ordinary" world behind - and in turn, take those first few tentative steps into the "special" world (unknown).

Enter...

Meeting the Good Guy

Meeting the Mentor

The Mentor doesn't always have to be an Obi-Wan-style character who teaches the protagonist everything they know about lightsabers. In its simplest form, the Mentor archetype is a guide. Someone who takes the protagonist by the hand, either literally or metaphorically, and leads them from the ordinary world into the special one.

This transition is known as Crossing the Threshold and it is the beat that marks the shift from Act I to Act II.

Now, there is a good reason why the Meeting the Mentor plot beat often serves as a precursor to Crossing the Threshold. And no, it isn't because the protagonist is incapable of doing anything by themselves.

Instead, the Mentor character is often employed to explain how this new world works to both the protagonist and the reader alike.

Through the protagonist interacting with a "guide", the rules and systems of the new world can be revealed through dialogue and action, rather than excessive exposition and info-dumping.

And this is where the "good guy" as a Mentor character stand-in comes into play. His arrival serves the dual purpose of propelling the protagonist into the Crossing the Threshold beat and guiding her once she does.

For example, Sookie's budding romance with Bill is what introduces her (and us) to the Charlene Harris's world of vampires in True Blood. Or, in Tamlin's case, he takes his role in "helping" Feyre to cross the threshold quite literally and abducts her, forcing her to leave the human world behind in place of the world of Fae.

Now, there are quite a few exceptions to this good guy/mentor rule and they generally occur when the good guy is a childhood friend or sweetheart. Examples include Harvey (TCAOS), Gale (HG), and Malyen (SAB).

When this happens, the good guy often provides the protagonist with a much-needed link to her previous life and/or the ordinary world. He takes on more of a "grounding" role, rather than a guiding one.

But regardless, what these good guys have in common is a fairly standard set of traits. They are protective, have a strong moral compass, and are incredibly loyal to the protagonist.

Furthermore, they are almost always the protagonist's "first love". They offer her the emotional support she needs in order to move forward by making her feel less alone in the world.

Regardless of whether the good guy is a childhood friend or a mentor-like character, his relationship with the protagonist usually marks a time of both innocence and self-discovery. He is a source of love and companionship while the protagonist takes those first few tentative steps into the unknown.

Meeting the Bad Boy

Tests, Allies, and Enemies

The Hero's Journey is, at its essence, a Bildungsroman-like story. Or at least it is in the YA/NA genres. It is a coming-of-age tale, with Crossing the Threshold being a symbol for leaving the child behind in order to discover the adult that awaits.

What follows is a collection of plot beats known as Tests, Allies, and Enemies. This stage of the story is often fraught with missteps and small triumphs, good times and bad times - much the same as adolescence.

And this is where the bad boy comes in.

Sometimes the bad boy manifests as an enemy who the protagonist must face in some kind of test like Spike to Buffy. Other times, he presents as a Temptation beat, like the Darkling does to Alina (SAB), trying to lure the protagonist away from their path.

But regardless of how he makes his entrance, the initial purpose of the bad boy is almost always to bring the protagonist face-to-face with the dangers of this new world.

For example, through Eric, Sookie realises that not all vampires are polite and restrained like Bill. Similarly, Feyre's first encounters with Rhysand show her an even darker side to the Fae.

Even bad boys who are not outright evil still tend to behave in a way that the protagonist finds confronting, like Peeta (HG), whose ruthlessly practical survival tactics disturb the very moral Katniss.

In this sense, the bad boy fashions himself into a symbol of the harsh realities of adulthood. Much as a child might find their first encounter with the cruelty of the world shocking, the protagonist is shocked and appalled by the bad boy.

We're not in Kansas anymore, Dorothy.

However, it is important to note that the bad boy is usually just one component of the beats involved in the Tests, Allies, and Enemies section. Again, this ties in with my argument that these stories are a Hero's Journey first - with the love triangle simply underscoring that fact.

The friendships that Buffy forms with Willow and Xander are shown to be her two most enduring relationships, while her love interests come and go. In Legendborn, Bree's quest to learn the truth about her mother's death has nothing to do with romance at all. And Sabrina's rivalry-to-friendship arc with Prudence gets significant screen time across multiple episodes and seasons.

During the Tests, Allies, and Enemies stage, the protagonist is usually starting to come into her own. She faces challenges, forms friendships, and encounters enemies. And yes, with love triangles there's usually some lust and romance thrown in there, too.

But the main focus of this stage is that the protagonist is starting to learn who she is. She is becoming more and more powerful with each setback and triumph.

The Death of Innocence

The Ordeal in the Abyss

The Ordeal into the Abyss, also known as The Belly of the Whale, is a plot beat where the protagonist encounters their greatest test thus far.

Rather than this beat being the climax of the story, The Ordeal is generally a challenge that the protagonist must face before the final confrontation or battle - and they must do so alone. It sees them hitting rock bottom and coming face-to-face with their greatest fear, whatever that may be.

This plot beat is a transformative one. It forever changes the protagonist and readies them for the final battle ahead. It is a death of innocence. The moment when the "girl" becomes the "woman", so to speak.

And in this sense, The Ordeal in the Abyss comes with loss and gain in equal measure. Yes, the protagonist is stronger for the experience, but not without cost.

To get to this point, she has been to hell and back. Sometimes literally (cough, cough. Sabrina). The protagonist is now well acquainted with the darkness of this new world but, in order to survive it, she has to absorb some of that darkness into herself.

If you gaze into the abyss, the abyss gazes into you.

The aftermath of The Ordeal usually sees the protagonist having conflicting feelings over what she has discovered about herself.

On the one hand, she might relish her newfound power and strength. But on the other hand, she may also be afraid of who she had to become in order to emerge triumphant.

Heartbreak

"Death" of the Mentor

The Death of the Mentor isn't always a literal death, but rather, it is a plot beat that forces the protagonist to stand on their own two feet.

By losing the mentor, the protagonist's safety net is ripped out from underneath them. It places them in a "sink or swim" situation that is critical to their growth as a character.

This is why the relationship with the good guy must either falter or end at some point, even if only temporarily. Their breakup serves as a stand-in for the Death of the Mentor plot beat.

Because despite romance featuring heavily in these stories, there is still an inherent idea within them that there are certain steps in a woman's coming-of-age that she must take alone.

The cause of this breakup is almost always due to the transformation that the protagonist underwent during The Ordeal. The good guy no longer understands her, even though he may want to.

For example, Feyre's experience Under the Mountain sees her outgrow her coddled life with Tamlin. Similarly, when Katniss returns to 12, Gale can't fully comprehend what she went through, nor the role she is being forced to play as a result.

Grief for Lost Innocence

Refusal of the Return

The combination of The Ordeal and the Death of the Mentor take their emotional toll on the protagonist. She mourns for the girl she once was, the loss of her first love, and the ordinary world that is now a stranger to her.

What follows is a low point called The Refusal of the Return. Sometimes this beat sees the protagonist running away from her problems, as Buffy does when she flees Sunnydale after killing Angel.

Other times, The Refusal of the Return is a period of rebellion. Grief manifests itself into rage and the protagonist leans more heavily into that darker side of themselves that they discovered during The Ordeal. Like when Elena turns off her humanity following the loss of her brother.

It is usually during this stage that the bad boy begins to take on a more prominent role. (Welcome back to the plot, bad boys!)

At some point, either during this beat or perhaps earlier, we see a different side to the bad boy. Most often, this occurs when the bad boy shows the protagonist some kind of vulnerability, leading her to second guess her first impression.

In the Darkling's case, Alina recognises his profound loneliness. Sookie witnesses Eric's grief at the loss of his maker, Godric. And Rhysand confides in Feyre about the horrors he endured at the hands of Amarantha.

However, seeing this "other" side isn't just a plot device to justify the protagonist's developing feelings for the bad boy. But rather, it serves as a mechanism through which the protagonist's assumptions and beliefs are thrown into question. Not just about the bad boy, but about the world in general.

Disrupting the protagonist's foundations is essential to nearly all emotionally-driven storytelling. Through shattering the her beliefs - whether it be in a system or person - the narrative is propelled forward as the protagonist is then forced into come to her own conclusions.

And this - THIS! - is where the "good guy / bad boy dynamic" becomes so much more than just a blatant over-simplification of male archetypes pandering to female sexual fantasy.

The dichotomy of "good" and "bad" expands here to represent larger choices that the protagonist has to make. Comfort or danger? Honour or Power? Altruism or ambition?

Furthermore, the protagonist's conflicting feelings about the two love interests underscores the very real push-and-pull we all feel during adolescence. Where we crave the adventure and independence of adulthood while simultaneously mourning the safety and protection of childhood.

And this is why the good guy / bad boy love triangle can be such a great plot device. It's not only fun to read (when done well) but it makes sense that the protagonist might find herself drawn to someone whose darkness matches her own.

Who the bad boy is - and what he has done - creates a safe space for the protagonist to explore this darker side of herself. To rebel. To fall apart. To be selfish for once, instead of selfless.

At a time when others in the protagonist's life, like the good guy or her friends, my judge or simply not understand her, the bad boy offers a reprieve. But whether this reprieve positively or negatively influences the protagonist tends to vary from story to story.

Sometimes he is the one who encourages her Refusal of the Return, as the Darkling does for Alina. Other times, the bad boy helps the protagonist in returning to her path, rather than luring her away from it, by offering her his understanding.

Peeta gets what Katniss is going through in a way Gale never can because he went through it, too. Similarly, Stefan can't provide Elena with the reassurance she needs after becoming a vampire because he has never come to terms with his own loss of humanity - therefore, enter Damon.

Self-Discovery

The Road Back Home

The Road Back Home sees the protagonist emerging from her Refusal of the Return. It is when she embarks on the journey to fully reconcile the girl she once was with the woman she has become. To do this, she needs to confront her trauma from The Ordeal and forgive herself for whatever darkness it might have awakened.

This is usually a gradual process that takes place over many chapters or episodes. In many ways, it is a mirror to the Crossing the Threshold beat. Except this time around, the protagonist is looking inwards not outward - instead of discovering the new world, she is discovering herself.

During this time, the bad boy's relationship with the protagonist is often explored more deeply. Being loved by the bad boy - darkness and all - is usually a precursor to the protagonist beginning to accept this darker side of herself, too.

But a distinction needs to be made here between "accept" and "embrace". The former does not necessitate the latter, and whether or not the bad boy gets his own redemption arc usually serves as the distinction between the two.

In the Darkling's case, he certainly helps Alina to come into her power, but ultimately, Alina rejects the path that he is trying to lead her down. The Darkling might have helped her to accept her darkness, but she does not fully embrace it the way he does.

Other times, when the bad boy gets his own redemption arc, we see a precursor to self-love through their relationship. Because in pursuing her feelings for the bad boy, the protagonist has to reconcile the fact that people are nuanced, and no one is entirely good nor evil. In forgiving the bad boy for his past wrongdoings, the protagonist sees that it is possible to forgive herself, too. Damon and Elena's arc (in the TV adaptation) is a good example of this.

But regardless of where things may or may not go with the bad boy, the next plot beat has nothing to do with romance at all. Now, the protagonist is ready for the final battle.

The Female Protagonist Accepts Herself

Master of Two Worlds

Everything the protagonist has been through has been leading her to this moment. Her triumphs, her defeats. Her discoveries and lessons. Her friends and mentors and lovers.

She's faced evil, maybe even embraced a little of it, and come out stronger and better for the experience. She has finished mourning the child she once was and accepted the woman she has become.

Now she is ready, as a master of both worlds, to face whatever comes next. And we, as readers, now get to enjoy the final battle!

Basically, the protagonist is a certified badass now - and she's going to win.

Now, where the romance goes during or after this plot beat is very, very varied. Sometimes, the protagonist stays with the bad boy, like Feyre does with Rhysand. Other times, the relationship is temporary, like Eric and Sookie. Or, in the case of Buffy, neither the good guy nor the bad boy remains in the picture. In fact, a very deliberate choice was made with her story to avoid an "end-game" romantic pairing.

And the reason why the romance is pretty damn varied is because, well, it doesn't really matter. The romance is the cherry on top of the story, not the whole damn cake.

Conclusion

I understand that love triangles might not be everyone's cup of tea - and that's okay. But to paint the entire trope under the broad strokes of teenage vanity and wish fulfilment is to do it a disservice.

Because for the most part, it isn't just some vapid romance. A lot of the most popular stories within the genre are actually complex YA fantasies in and of their own right, driven by your standard emotionally-driven, coming of age beats. They just happen to feature a female protagonist who falls in love.

Okay, maybe in this example she falls in love a few times. But so what? Getting your heart broken and mended again is a part of growing up, so why shouldn't it have a place in YA/NA fiction?

If young men are allowed to froth over some guy getting bitten by radioactive a spider and getting superpowers, then we can have two sexy vampires pining over the same girl.

#true blood #sookie stackhouse #southern vampire mysteries #love triangle #literature tropes #tv tropes #fantasy #fantasy romance #fantasy books #the vampire diaries #elena gilbert #buffy summers #buffy the vampire slayer #the hunger games #katniss everdeen #acotar #feyre x rhysand #feyre x tamlin #feyre #legendborn #bree matthews #shadow and bone #alina starkov #hero's journey #heroine's journey #the smut analyst #writing tips #romance plot #character building

[sukaaxo]

tamlin ‘watched feyre waste away’ theory

i see a lot of ppl claiming tamlin just watched feyre waste away and never noticed it. but when rhys mentioned feyre looked skinny, tamlin looked confused. so honestly im on the side of he couldn’t actually see it.

i had a car accident a few years. it was me, my sister and my parents. i ended up bed bound for a few months bcz of a broken hip. i lost A LOT of weight bcz of this. no one in my immediate family (the ones that were in the car accident) noticed that i had and i didn’t notice that they had. my grandad came over after a month or two and he commented on how skinny i looked to which we all looked confused bcz i couldn’t tell and neither could they. turns out we had all lost over 5 stone between us and and we COULDNT SEE IT bcz we spent so much time together.

the same thing happened when i was with my ex bf. we both had severe depression during covid and lived together. neither of us noticed each others decline bcz we were wrapped up in our own and it took me visiting my parents when the lockdown lifted for someone to notice how badly we had fallen.

another less personal example is when u go to the gym. u rarely notice progress until u show side by side comparison pics of ur before and after. u don’t notice slow progressive changes when ur seeing it as it happens.

my point being that being within an enclosed space with someone and both of u declining makes it harder to notice these things. especially people within close relationships. the only reason other people noticed in MAF is bcz they didn’t spend time with feyre constantly (rhys, guards, villagers) or didn’t go through similar trauma with her (ianthe, lucien). but tamlin , who went through the same, if not MORE torture underneath amarantha, was suffering just as badly and was in close proximity with her often would have struggled to notice. feyre even mentions at some points that tamlins hair lost some of its shine and his muscle some of its definition. he also looked tired and stressed all the time. yet she never tried to help him

so many ppl were suffering and im so tired of ppl only ever caring about feyre’s or believing shes this little victim who’s been abused and ignored by so so many and not someone who was also ignoring everyone else’s feelings and problems to highlight hers. she DID go through stuff but so did everyone else and no one was helping anyone. everyone in the series has been through abuse and torture and no one shifted blame the way feyre did.

#lucien vanserra #acotar #tamlin #rhys acotar #rhysand #anti feyre #feyre acotar #feyre x tamlin #anti rhysand #night court

[feylinweek]

We Are Live!

Welcome to the official blog that will be hosting and running Feylin Week 2024. This is the first Feylin Week, hopefully of many, so it will only last five days instead of the traditional seven. Mark your calendars, May 1st - 5th will be about all things Feylin. Fanfics, Moodboards, Playlists, and more are welcome! Simply tag this blog or use the tag #feylinweek2024, and your contribution will be reblogged and added to the Masterlists as soon as possible

Why Those Days?

This poll, had the week originally be set for April, but the month is already filled with three separate fandom events, and adding a fourth may overwhelm those who wish to participate, so the week has been pushed a month and will now be help in May. All future weeks, however, will still be held May 5th - 11th

Can I Help?

For the upcoming week, no, as too many details are already set, but if you wish to help run or technically contribute to potential future weeks, reach out to [email protected]. You can also use the email if you want to participate privately (stealth Feylin shippers) Please do not spam this email with hate or vitriol, it is a fandom space for others to enjoy and communicate.

Do I have to stick to the prompts?

Not at all. The prompts will be more guidelines than rules. They’re there for inspiration and to remind people of Feylin moments that they may not remember to make participation easier. Additionally, the days aren’t deadlines, works for Day One can be posted on Day Three. The Masterlists for each day won’t be posted until the week is over, so don’t stress trying to adhere to the timeline.

Prompts will be posted next week, March 19th. Feel free to ask more questions, I hope you’ll have fun!

#feylinweek2024 #pro feylin #feyre archeron #tamlin #feyre x tamlin #tamlin x feyre #event update #rb this updated version please

[ladymidnight-goesforth]

After months of inactivity, I wanted to draw something for Lucien Week. Drew Feylin instead. Whoops?

Partially inspired by chapter 23 of ACOTAR:

This was such a lovely dream. I’d never slept so wonderfully before. So warm, nestled beside him. Calm. Faintly, echoing into my world of slumber, he spoke again, his breath caressing my ear. “You’re exactly as I dreamed you’d be, too.”

One of these days I might draw a more accurate rendition of that scene, but I was mostly inspired to draw them laying side by side in the warm grass. I wasn't sure whether to give Tamlin his mask or not (since I could have easily made Feyre a High Fae here), but it's so iconic, I added the mask, and then a flower crown, just because. ❤️

Please do not repost.

#my art #my sketches #lady midnight makes #tamlin #tamlin x feyre #feyre x tamlin #feylin #acotar book 1 fanart

[highladyivy]

is it just me or has Lucien’s and tamlins relationship changed a bit since this first book.

I mean in the first book he had no problem throwing stuff back on tamlin and standing up or saying you know this is wrong you shouldn’t be doing this think about this stuff and in book two he doesn’t.

It’s like he’s walking on glass. Did I miss something.

I mean I get the stuff under the mountain but would it change his perspective of tamlin that much. What tamlin did or better said didn’t do under the mountain.

Am I missing something I’m on chapter 40 or does it clear up in future chapters.

#acotar #acomaf #lucien vanserra #lucien acotar #tamlin #cassian #rhysand #a court of thorns and roses #acotar headcanons #acotar imagines #acotar series #azriel shadowsinger #feyre archeron #feyre x lucien #feyre x tamlin

[dopeartisanprincess]

I did it, if i color/ do more line work today won't be that day

#tamlin #feyre x tamlin #feylin #tamlinweek2023 #lucien acotar

[bookishfeylin]

I posted in someone else’s ask box about how I think maybe in the original SJM did plan Feysand mates, but have Feylin endgame.

In the first book, she sets up a theme for the series. Love, specifically human love, can be equal to or greater than immortal love.

We have a Tamlin telling Feyre that his mother overlooked the abused he endured under his father and siblings because she was blinded by the bond. We have Amarantha telling Tamlin that human love is fickle. We have Feyre realizing that Nesta does love her as she loves her sister, she’s just doesn’t express it often or well and they make up. We have Papa Archeron being an example of that fickle love when Feyre returns and he immediately wants to marry her off. The answer to the riddle was love. Feyre went back for love. Feyre’s “human heart.”

And then at the end we have Rhysand realizing him and Feyre are mates. Ok. Cool.

Is it possible with that theme she set up that she had a full circle ending planned? Feyre with her human heart, sees the monstrosity Rhysand is and chooses Tamlin? The high lord she stays with? An eff you to Amarantha?

I just don’t see why she would set that whole theme up if it wasn’t going to have an impact in later books. And I feel that because she doesn’t uphold this theme in her later books, that’s why the series falls apart. Because it was a theme that would have played a part in Nesta and Elain’s romances as well (since we know Nesta was originally supposed to be with Lucien, and per SJM standard, Elain would’ve also ended up with a fae), we can look directly to Nesta’s book to see just how damaging the deviation was.

I believe @goforth-ladymidnight originally proposed something similar to this and the idea has never let me go (go follow her she's so wholesome). Yes, this analysis is everything because it would make perfect since with theme established in book 1. I wrote that ACOMAF is a bad sequel for this very reason right here--because it ignores that the main tension of book one, and something that appeared to be set up as a major theme, was the conflict between fae love and human love and which was more genuine. Amarantha argued that humans cannot love like faeries can--that their love can never reach the depth of love and loyalty that fae feel for each other. But it's also noted through the example of Tamlin's parents that the deepest expression of faerie love in Prythian's society--a mating bond--doesn't mean the pair are actually a good match, and it allows a couple to overlook the heinous actions the other commits, so Amarantha's reasoning about faerie love being superior was inherently flawed from the get-go. Feyre being mated to Rhysand but choosing Tamlin would prove Amarantha wrong in every possible way for reasons you've already so eloquently explained. It would finally make the sequels thematically congruent with ACOTAR 1, and would honestly be an incredibly satifying refutiation of the dark-haired-bad-boy trope.

I just don’t see why she would set that whole theme up if it wasn’t going to have an impact in later books.

Because ACOTAR originally had a different set of sequels all written in 2009, which were scrapped when Sarah chose to write ACOMAF and ACOWAR in 2014. We'll never know what the original plot was, but thematically this makes sense for ACOTAR's sequels, and I can't help but wonder if this was the route Sarah originally took with them.

#ask #anon #acotar #feylin #feyre x tamlin #tamlin x feyre #feyre archeron #tamlin