I Took A Little Journey Into The Unknown

A character concept that I'm actually surprised I haven't seen more, now that I think about it:

A character with a tragic past who's beautiful in an unthreatening, pitiful sort of way, who goes "wait hold on, people think I'm cute?" and immediately goes drunk with power. Having a whole villain arc getting corrupted by the power of being just so tragic and pathetic that people can't be mad at them. Someone who's been accustomed to always being the one who's blamed and punished no matter whose fault the problem was suddenly discovering that actually they could get away with murder by being so big-eyed and sad.

And once they figure out that they can just Poor Little Meow Meow their way out of anything, they do. Going from being genuinely skittish and timid into pretending to do so merely as an act, manipulating the shit out of everyone and avoiding all suspicion because Look How Sad And Wet And Pathetic I Am, of course they couldn't do any harm to anyone ever.

And if one person finally does see right through that act and puts puzzle pieces together of how there's been just too many suspicious coincidences and accidents that only one person would actually benefit from, they confront the Tragic Little Act directly, one-to-one, to say "I'm fucking onto you and your shit"

And suddenly they completely snap out of their timid, pathetic presentation to give a big, wide, sickening smile like "no-one's ever going to believe you."

Bernard Hill - Théoden King.

Where now the horse and the rider? Where is the horn that was blowing?

They have passed like rain on the mountain, like a wind in the meadow;

The days have gone down in the West behind the hills into shadow.

Who shall gather the smoke of the dead wood burning, Or behold the flowing years from the Sea returning?

As a female athlete myself, I just want to quickly appreciate how George R.R Martin writes his women who fight. It’s never, “she wanted to be a warrior so she worked harder than everyone and eventually she could beat all the boys.” He actually gives his characters strengths and weaknesses—as well as cultural ties to fighting— and he makes these traits enhance the already existing plot lines these characters follow. The mental game is also always just as important, if not more, than the physical game, which I’ve found is true in sports and probably much more true in actual life-threatening situations.

Arya is a small child. She’s nine, she’s skinny; she would probably never excel at being a knight, so instead she learns a different type of fighting. She’ll never overpower anyone, but she can be quick and sneaky and use her left hand which most people don’t know how to fight against. Also, I would argue that Syrio’s teachings about “looking with your eyes” were far more important to her than the physical part of water dancing. Most of the time she isn’t using her skills to directly fight people, but to run away, to spy on people, to catch food and survive. Syrio is her friend, Needle is Jon Snow’s smile, etc. Arya learning how to use her stature to her advantage is part of a greater connection to her identity and the people who helped her.

Brienne is stronger than most men, but she faces constant misogyny because of that (which is all too realistic). She constantly faces internal battles with her own self-image and harassment wherever she goes. She gets taught to use men’s pride and anger to her advantage:

“Old Ser Goodwin was long in his grave, yet she could hear him whispering in her ear. Men will always underestimate you, he said, and their pride will make them want to vanquish you quickly, lest it be said that a woman tried them sorely. Let them spend their strength in furious attacks, whilst you conserve your own. Wait and watch, girl, wait and watch (AFFC Brienne 7)”

Finally, “no chance, and no choice” is her most memorable line for a reason. It’s not her martial prowess that makes her a great character; it’s her bravery and honor.

Cultural ties are also so important to the reasons many women in the series fight. Asha is Balon’s last remaining child when all her brothers are dead and gone. Of course she knows how to fight and sail. Her tension with Theon is less about her showing off and more about her proving how much she actually knows her people while he doesn’t (of course that isn’t Theon’s fault but that’s a whole other post). The Mormont women learned to fight because they historically had to fight off invaders; the Sand snakes’ skills show their connection to Oberyn, etc.

Anyway I just love how George uses fighting to enhance his characters’ personalities and not define them. None of them are physically or mentally infallible, and none are exempt from misogyny. They just learned to do something that empowers and protects them despite society’s expectations. George’s writing of women is definitely not perfect, but this is something I really appreciate.

Maybe we’ll get to see the first American pope in history be the first pope to excommunicate the US vice president

god i really fucking love the dúnedain, particularly the rangers. just as like. a concept. a people. an actual part of the story.

they defend the shire, without the hobbits knowing, because they're doing what they can to keep it untouched by evil and the world at large. they sing and they love dancing and theyre all Tall. theyre almost all that is left of númenor. they do not seek payment for what they do--their cause is singular, and that is to fight against the very evil that brought their people to middle earth in the first place. they're often strange and they're certainly offputting to those who do not know them but in all we see of them, they clearly have close connections with one another. they can live for over a hundred years. they absolutely crash in rivendell half the time. their leader is playing a lead role in beren and luthien part 2.

god just. the rangers!!!

“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it so sit down on or to eat: it was a hobbit hole, and that means comfort.”

- The Hobbit: Chapter 1, An Unexpected Party

I’m challenging myself by reading through The Hobbit again and illustrate it in my style as I go along. I fully expect it to take a long time, but I’ll keep posting my progress on here. I’ll be using the movies as reference for some things but I also want to draw it how I see it. So consider this part 1 of… who knows how many. Thank you so much for any and all support!

Dame Maggie Smith as Muriel Donnelly The Second Best Exotic Marigold Hotel (2015)

WHAT IF THE WORLD DIES WITH THE SUNRISE? BABY, IT’S ALRIGHT, WE’LL BE UP ALL NIGHT! WHAT IF WE’RE UNMADE WHEN THE STARS FADE? JUST KEEP ME GOING UNTIL THE NIGHT TURNS INTO THE DAY! <3

Magic in her Blood: story concept

(This is an idea I played around with. I might make a small series out of it if some people are interested)

Please do not replicate my work anywhere without my permission :)

*

Smoke filled the streets of Small Heath, workmen feeding coal to metal beasts, breathing in the toxic air. The noise of their exploits echoed over the slated roofs, carrying for miles, and allowing for a cloaked figure to pass by silently.

Her eyes flashed with each burst of flame, catching the depth and piercing brightness of their blue. A pointed, angled hat cast shadow over her features, the glint of steel on the brim a warning to all those who are prey, and obscuring everything but the subtly smirking lips; painted blood red.

She passed through Small Heath with no opposition, no second glances, for all those who saw her, knew. This woman was one of them.

Granddaughter of a Romani king, princess of the Peaky Blinders, and all round predator. Sarah Shelby walked the streets of Birmingham like royalty, because that's exactly what she was.

The doors to the Garrison swung open, and heads came up, only to dip down again in respect. And fear. A few newcomers stared, until one of their friends shoved their heads to the table. 

She swept along the bar, plucking whiskey and a glass on her way. Her heels clicked off the wooden floor, a quiet power spilling out from the smooth, rolling silk that hugged her figure. Equally dark curls bounced upon her shoulders as she turned her head, one last look falling over the pub before she vanished into the private booth.

The Shelby boys all looked up, grins appearing on their faces and papers being set down. To those outside, nothing would have shocked them more than to know she returned the smiles.

"Good to see you again, boys," she said, sitting adjacent from the eldest sibling, Arthur.

"And you, sister," Thomas said, "we'd begun to think ourselves too common for your tastes."

"Oh, not at all," Sarah replied, matching the smirk he wore as she poured herself a drink, "I merely had some business of my own to attend," she said, and crossed her legs.

The air, filled with smoke from their cigarettes, tasted bitter on her tongue. Something hung there, unspoken, interrupted. It seeped into the old wood, spinning around the circular booth like a wailing spirit, begging for freedom.

Eyes narrowed, Sarah regarded her brothers with a tilted head. "What's happened?"

John chuckled, glancing over at Thomas and bouncing his leg. Little humour was to be found in his face, only a rather satisfied "I-told-you-so" gleam in his eye.

The two elders exchanged a brief look, and Arthur gestured towards her, raising another cigarette to his lips and leaving Thomas to answer the question.

"There is a copper from Belfast sticking his nose in our business," he explained, hands clasped on the table he leant on, "and he's causing problems."

"Now the barmaid makes sense," Sarah murmured, sipping her whiskey and gazing at it as the liquid swirled.

The brothers straightened in their seats. Thomas wet his lips. "What do you mean?"

She raised her eyes to them, one eyebrow arched. "A copper from Belfast comes along, poking his snout where it isn't wanted, and a beautiful Irish girl suddenly drops into Harry's lap; surely you don't think it's a coincidence?"

John and Arthur laughed, but quickly stopped, noticing the missing voice. Thomas stared at his sister, heart hammering in his chest, and fell back against the bench.

"Grace is not working for Inspector Campbell," he said, in a tone that seemed directed more at himself than anyone else.

Sarah drew her wand from its sheath at her side, rolling the cool instrument in her grasp. The familiar touch sent gentle sparks flying as she waved it through the air.

They each gulped, glancing at one another and backing up, further away from the weapon. But Thomas met her eyes, and smirked.

"Let's find out, shall we?"