Uriel trying to convince Metatron why she almost started war for her ship
Bonus Agameta and my own temporary design of Agares
Closeups:
This is a redraw of old drawings from 2023....me and the other 2? Or perhaps no agameta fans, clap (it's just me) 2023 me was obsessed about these two lol
Teen Rhaegar/Rhaella and Jon from @syndrossi 's Reversal B track au
Jon is in Targ colors just as Daemon wished <(-_-)>, I actually struggled on Jon more,,, men's fashion is smh more difficult imo. He does end up looking feminine, oops (I gotta practice drawing masc more)
Close up:
And I doodled their eyes for a bit, I like to imagine the Targs having some more special ish eyes, so I added Arthur's for a differece
Arthur looked down once. Daemon shouldn't have been able to see it. Ft. Rhaella at the corner
A quick comic? strip continuation of the previous post I drew (Reversal B track × knight of stars AU by @syndrossi ), Arthur gallantly not staring down at Rhaella's very accentuating dress. Except for one time, after hours. And got caught. Just one glance was enough for Daemon to sense it. (Slowly reading through Resonant and goodness, this man is intense)
I forgot Arthur was supposed to have short hair, oops. some tiny Dorne motifs (sun shaped like pin)
Free from exams so I've been finishing a few wips, can't wait to show em (人•͈ᴗ•͈)
I'm so normal about them. (◉‿◉) (looking at my 9 wips)
Was practicing a pose, and then drew Rhaella (f!Rhaegar) and then everything. My back hurts ಥ_ಥ. I tried to test out new things, also add a few details, from jewelry, gold and the dress, which I actually got inspired from TikTok. I do think Rhaella is pretty happy with how she's grown up now (by her dress), can't a princess show off her bosoms U-U? Hope I captured her beauty even more
All the AUs are so good, it's making me color my art more nowadays, I might hopefully make some more doodles since I've recently read chapter 10 from resonant. One day I'll draw Jon fully or maybe Daemon, men are hard to draw orz. Here's the sketch since I was quite happy with the pose
Fem! Rhaegar (Rhaella) looking at Arthur, a quick doodle based off Resonant from @syndrossi specifically a cross of Reversal B Track and Knight of stars which caused me to begin reading resonant and the many many verses, I'm not even done yet with the fic ( ；∀；)but I'm already imagining scenarios for this,,, I haven't even memorize the targaryen family tree
It's been so long since I last colored, but the AUs were too good for me to ignore, and I'm a sucker for Arthur Dayne x Rhaegar, my meager contributions for this ship. All my efforts were put unto Rhaella, because she's (he's) my pretty princess forever, tried to make the clothes fancier ish, probably not historically accurate but ehhh
Poisoned Wound: Celebrían's Capture as Biopolitical Terror
Okay, so here is the piece of Celebrían meta I have been promising for ages and yet never delivered finally out of my Notes app. That is, an in-depth and slightly pessimistic reading of Celebrían's capture as an act of deliberate political violence rather than solely as an individual trauma narrative, which centres her as a crucial political figure instead of solely a victim and to an extent reframes the reception of how power operates in the Third Age.
TLDR: the attack on Celebrían was a top-down strategic strike targeting the living link between Rivendell and Lothlórien, the specificities of which were calibrated to produce traumatic knowledge that both resists healing and makes exile the only viable response. Sauron removes her from the field by weaponising elven society’s inability to metabolise this particular form of violence, by turning their own structures of shame and silence into instruments of political extraction. Sauron is not only amassing armies at Mordor's borders, but also systematically eroding the conditions that make Elven presence in Middle-earth sustainable… two birds, one stone, etc.
Essentially, this actively politicises gendered violence in Tolkien’s legendarium instead of viewing it as a singular act incidental to “the real war” over the Ring or the Silmarils or what not. It absolutely is the war, a form of warfare that targets women precisely because this kind of ‘unspeakable’ violation accomplishes both the reactivation of ancient trauma and the public demonstration of an entire community’s vulnerability. For those Eldar remaining in Middle-Earth, Celebrían's capture would have conjured two images seared into cultural memory: the Thangorodrim massif, and the returned thrall.
The Attack
The (scant…) textual evidence points to deliberate political targeting, even in the fragments received in Unfinished Tales and the in-text mention and appendixes to Return of the King. Celebrían is waylaid, a word implying ambush, while her escort is scattered rather than slaughtered. Which doesn’t necessarily gel with other instances of ‘random’ orcish violence as presented elsewhere: indiscriminate killing, captives taken for food. Here, the guards are obstacles to remove, and presumably at least some left alive to bear home the news, and the operation itself is practically a surgical strike.
I found the location itself very interesting: according to Appendix B (Lord of the Rings), orcs had been making secret strongholds in Moria since 2480, thirty years prior to Celebrian travelling. Considering the importance of the route and Celebrían herself, it’s likely that there weren’t exactly continuous indiscriminate attacks happening along the route, if she was sent along it. The Redhorn Pass is the "ancient way" connecting Rivendell and Lothlórien, the two greatest remaining Elven strongholds, and of course, mountains carry their own textual weight: Thangorodrim, Erebor, Caradhras, Orodruin… sites where power manifests and is ‘displayed’ and bodies made to break in plain sight.
The text also gives us "torment” when it comes to Celebrían, a word Tolkien reserves for sustained, purposeful suffering: Gollum under interrogation in Barad-dûr, Maedhros hanging from Thangorodrim, Húrin forced to watch Morgoth's curse unfold. Torment signals suffering as objective rather than byproduct, and the poisoned wound clinches it in the sense of it not being violence for the sake of violence, or something devised by the capturing orcs themselves… why poison what you’re going to snack on? Poison makes sense only if the goal is damage that outlasts the immediate violence, some sort of harm that persists after rescue. And that again comes directly from Morgoth's playbook: once more, thralls, Maedhros on Thangorodrim, Frodo's Morgul-wound, incidents designed to transform a victim of a specific act of violence into a living testament to enemy power.
The Bodily Contract
Sauron, whose defeat is in part due to his lack of understanding of the Hobbits and their personhood, is actually very well versed in how power operates in elven society… the guy has an Elf Major and a Man Minor even though he failed his Hobbit class, and is not only aware of how both Noldor and Sindar society functions, but also conscious of the fractured realms and historical violences of Beleriand and just how tenuous and new some of these links are, because, well, he caused a good percentage of said wars and he and his boss made a hobby of sowing said discord and breaking alliances, until one prevailed.
Celebrían, despite her not being directly described as taking any particular interest in politics or warfare, literally is the link between Rivendell and Lothlórien. Elrond and Celebrían’s love story is very sweet, but it’s also the political marriage of the Age. Through Celeborn, Celebrían connects to Doriath's Sindar royal family even outside of Thingol’s direct line, through Galadriel she reaches back to Valinor's Noldor and Finwë, and through Elrond, once again to Doriath and Melian, Idril and thus, Finwë. Her children carry that convergence forward: the twins as northern defenders, Arwen as the bridge to Gondor's throne. I always joke that the Celrond marriage is the turning of an already very bendy family tree into a straight up circle (or wreath 😌🥲), but like, everyone involved and uninvolved are perfectly aware of what such a union actually does, ie serves a similar function to Aragorn and Arwen’s marriage in their own context.
By ‘breaking’ her in a way that implies sexual violence and a resistance to psychological healing, Sauron both weakens those bridges (my own fanwork takes on Cel’s sailing has one common denominator and that is that both the relationship between Elrond and his children and between Elrond and Celeborn+Galadriel were very fraught in the aftermath of the attack) weaponises the core of Elven existence: the coherence between flesh and spirit. He knows that breaking an elven body in specific ways will inevitably shatter the spirit, that the wound will persist because the body remembers and even if the elven self can attempt to compartmentalise or ‘forget’, elven society will not allow it. Fantastic fanworks on this phenomenon: a variety of morbid symptoms appear by @tobermoriansass and anhedonia by @seaemberthesecond
So for me that year-long gap between physical healing and departure reveals everything that the sparse nature of the footnote doesn’t: Elrond restores her body and she sails anyway. And that again echoes the violence of the First Age as well as the violence that will ultimately close the Third Age with Frodo, following the exact same pattern: torment, healing, fracture, a chosen departure.
Temporal Trauma
"A poisoned wound" is something that can be (and I tend to) read as euphemistic for sexual violence, but what I found most interesting about it is that it’s singular, definite, thus marked as ‘special’ in a sense. It’s not like Tolkien really shies away from talking about grievous injury: Boromir was pierced by many arrows, Théoden was crushed by his horse, Fingon was straight up stamped into the ground and Feanor outright combusts. Celebrían receives one particular wound, modified to linger and made to be found and noted.
Before this attack, the Watchful Peace had lasted four hundred years. The Elves had perhaps grown comfortable, believing “ancient routes” were safe for royalty with standard escort, and this attack ends that assumption. It reminds the entire Elven community what has become possible once again, and what can be done to them, and so the single wound spreads beyond Rivendell or Lothlórien; news travels through every realm, creating shared knowledge that transforms how everyone navigates the country and its new, shaky borders.
And it’s a reminder because such violence operates across time simultaneously. Backward, it deliberately invokes First Age terror as I already pointed out: Angband's methodology, thrall-breaking, the signature Morgoth approach that every Elf carries, whether generationally transmitted or experienced first hand. Elrond, Galadriel and Celeborn specifically, lived through that era, and at least Elrond, having been raised in proximity to Maedhros for at least some time, is very likely to know what exactly such prolonged torment signifies. Hence the attack reactivates ancient trauma, collapsing historical distance and makes the First Age horrifyingly present.
Forward, the consequences ripple through generations, and that’s quite clear in the narrative itself. The twins spend centuries hunting orcs, their entire adult identities formed around this single event. Elrond eventually sails, leaving Middle-earth “seeking Celebrian” with his daughter choosing mortality. Arwen is left ‘motherless’, shaped by this chosen absence. And me mentioning the ‘motherless’ thing isn’t to consign Celebrian to her maternal role, more that this would, in my interpretation, have been one of the most difficult things about the choice Arwen ultimately makes… but at the same time (in a classic Tolkien ‘aha’) the choice aspect might also have spurred her confidence in making said choice. Either way, this singular attack in T.A. 2509 has effects still unfolding at the Third Age's end, still determining who stays and who leaves and still shaping the future of Elven presence.
Sexual Violence in War
Sexual violence in Middle-earth's wars is, regardless of the text’s general euphemistic approach to sex itself, consistently present as conquest weapon. Éomer's comments about what would befall Éowyn if Edoras fell, the fear surrounding women and children facing orcish raids, Faramir's implications about enemy captivity, the allusions are very clear and Tolkien, despite his several, er, flaws on this end, doesn’t take his reader as stupid. The Silmarillion is actually more explicit: threats to Lúthien, specific targeting of women and children in raids, implications in how Morgoth's forces conduct warfare, fucking Finduilas. Even the creation myth touches on gendered violence, Morgoth's corruption of Elves into orcs potentially involving forced breeding programs, attempting to reproduce corruption through implied sexual violation.
Sexual and gendered violence as military tactic, either or both territorial marking and community destruction, is of course a common act of war ‘in real life’, where rape is weaponised because command structures understand its strategic value beyond individual impulse and suffering, especially considering suffering is widely deployed as it is. The sexual violence becomes the message itself: we can reach into your most protected spaces and violate what you hold sacred, and you cannot undo it. In war, women's bodies often become the terrain where cultural integrity is imagined and contested (paraphrasing Rita Felski). Similarly, Celebrían's body becomes the message board. This violence radiates outward, destabilising kinship networks, creating atmospheres of fear, forcing communities to contract and fracture. Whether Tolkien intended it explicitly or not, I interpret Sauron as deploying exactly this strategy.
The attack succeeds by exploiting existing structures of shame and silence, but also feminine expendability. Even if Celebrian metabolises this violation, her status as a ‘symbol’ or ‘message board’ means that elven society will not let her metabolise it: there is no framework for her to remain as survivor; the only narratively available option is removal. And that is the primary impact of reading her attack not as an individual trauma narrative but as a deliberate act of political violence closest in intended effect to the display of Maedhros upon Thangorodrim. The language of ‘healing’ and ‘choice’ ensconces what is structurally an expulsion: the Eldar of Middle Earth cannot hold what happened to her, so she must leave. She cannot be reintegrated, and this isn’t because of an individual ‘marring’ per se, but because she functions as a living reminder of elven vulnerability. Celebrían's violated body becomes unassimilable to the political imaginary of Middle Earth, requiring exile beyond the borders entirely.
Orcs and ‘Laundered’ Violence
Morgoth and Sauron deploy orcs as ideal perpetrators, ie ‘degraded’ and ‘marred’ beings whose violence appears natural rather than strategic, bestial rather than commanded, prone to indiscriminate, terroristic violence that is perceived beyond the means of civilised society to understand (and again, Tolkien’s general views on race and racialised violence, jumps out here…). Yet we know from Grishnákh discussing "orders," or Gorbag and Shagrat's constrained behavior with prisoners, or Uglúk enforcing discipline, that orcs operate under command structures very similar to the average army, where violence is directed and unleashed according to higher purposes.
The violence of Celebrian’s attack looks like chaos, a breakdown of civilisation in a remote location, while actually constituting organised terror. Because orcs are considered irredeemable essentially-non-beings in Middle-earth's moral economy, their use as perpetrators keeps the violence at arm's length from "civilised" warfare, and they are absolutely expendable. Sauron creates conditions and provides opportunity knowing precisely what will result, ie Elrond’s house sending in a party to rescue Celebrian and kill the orcs, but not caring because the objective isn’t to kill her or prevent harm to his orcish cave stronghold. Celebrian being found in that state is the objective.
When you track female trauma across the legendarium, you start to see a hierarchy of power that clusters around dynastic transitions and women who embody political connections between realms or ages: Lúthien's captivity, Elwing's flight, Celebrían's torment, Eowyn’s constraints, Arwen's choice. These are pressure points in Elven political architecture, again, thinking about the Felski quote above where women serve as ‘cultural markers’ in narratives of war, especially those involving sexually conservative societies. The threat or actuality of sexual violence functions as mechanism for interrupting succession by fracturing both links to shared communities as well as genealogical lines which carry power forward.
The violence targets women specifically as vessels and connectors of futurity, who quite literally embody the continuation of bloodlines and political alliances. The threat alone often accomplishes as much as the actuality. Arwen never experiences what her mother did, but that shadow shapes her understanding of remaining in Middle-earth, of what vulnerabilities elven embodiment carries. The attack on Celebrían teaches the women of Middle Earth that nowhere is safe, that even being daughter-wife-mother of the most powerful elves offers no protection (much like being the technically High King of the Noldor offered Maedhros no protection against his own torment), and that your body can, once again, be made into a weapon against your own family.
Strategic Extraction
I think the most bitter aspect to me is just how the ‘problem’ of Celebrian is actually dealt with: by making it disappear both in-text and narratively, and have that disappearance framed in the language of redemption and healing. Celebrian’s sailing is presented as an active decision and as an act of care, as offering her peace and respecting her choice, and yes, absolutely it is all those things. But it is also a failure, ie a community's inability to hold what has been done to one of its own.
Celebrían becomes unassimilable. Her violated body, her traumatic knowledge and the fact of her survival cannot be integrated into the ongoing narrative of Elven presence in Middle-earth. She must leave so that Middle-Earth can continue functioning without such reminders, and her family can maintain their posts and alliance, so that the facade of Elven endurance need not be troubled by the persistent reminder of what she carries. The departure is framed as her healing, and healing it is, but what it also reveals is Middle-earth's own inability to be healed with one such as Celebrian still in it.
This is where Sauron's strategy achieves its fullest expression. He does not need to kill her or keep her captive. He needs only to break her in ways that make her presence unbearable to the world around her. The very structures meant to protect her become the structures that cannot accommodate her survival. Her own culture's deep integration of body and spirit, becomes the mechanism of her extraction. She is loved, she is mourned, and she is sent away and recorded as a footnote.
The wound crosses the sea, and Middle-earth closes over the gap she leaves behind, diminished but functional. Everyone performs their roles in the slow diminishment of Elven civilisation, and Celebrían's departure becomes part of the long defeat, one more name in the litany of those who sailed West. She does not sail because the world has grown old or because her work is complete, but because remaining has been made impossible and the only way to survive what was done to her is to remove herself entirely from the space where it happened.
The cruelty and genius of it lies in how it is, ultimately, Celebrían herself who must choose to leave. She is healed and home and surrounded by love, Elrond himself tends her wounds and there is quite literally no one better for the job. But much like the attack transformed her into a wound for Middle Earth, it has also transformed Middle-earth into a wound for her. Her own body has become unreliable, and not only that, made a public site of betrayal. She chooses the straight road, and it appears as agency, as healing, as a reasonable response to trauma. She rescues herself out of the narrative. The political map shifts accordingly.
Concluding
When it comes to the Third Age, unlike the First Age, we tend to conceptualise Sauron's threat through visible moves: massing armies, riding Nazgûl, corrupting Saruman, poisoning the forests and conducting a physical war of attrition. But this reading suggests he continues waging the subtler war he and Morgoth had perfected in the First Age, targeting specific vulnerabilities of Elven civilization, like their investment in ‘kinship’ as political structure, inability to separate physical violation from spiritual fracture.
Celebrían's sailing appears as personal choice and healing journey that ostensibly has a ‘happy ending’ in Elrond’s sailing to Aman for an inevitable reunion, and that reading is technically true as well. It is an individual choice, and they do reunite. In this reading though, it is the endpoint of strategy: the successful extraction of a keystone figure, accomplished by making her continued presence unendurable to both herself and the land as a whole. One attack, one person, and the entire structure of Elven presence in Middle-earth shifts considerably. The poisoned wound is removed, yet persists in her family, in the narrative itself, and in the political geography of the Third Age.
Something something Glorfindel having Goldren Retriever energy but in the sense that he's prone to biting due to poor training, socialization, and handeling. But no one takes this seriously because come on, he's a golden, golden's are laid back and great for families
romaincrisis
dededos
discoholicmusic
tangentwithtanner
jbbartram-illu
