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PUT YOUR BEARD IN MY MOUTH

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official daine visual archive
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Ever After (1998) dir. Andy Tennant
If I don't get any Elva content in Tales 2 I fear I shall not mentally recover.
One of my favorite bits of characterization is how Murtagh projects onto Eragon.
When Eragon is sixteen, Murtagh explodes at him after rescuing him from Gil'ead:
The narration specifically describes the venom in Murtagh's voice, but the anger isn't really about Eragon. At this point in the story, Murtagh himself feels trapped with no way out: hunted by the Empire, unable to trust the Varden, convinced every path ends in death. He's overwhelmed by his own helplessness, and instead of confronting that, he redirects it toward the one person standing in front of him.
He's not criticizing Eragon so much as attacking the part of himself he can't stand. The irony is that Murtagh's accusation falls apart almost immediately when you compare their actual circumstances.
When Murtagh was seventeen (older than Eragon, with years of formal training under Tornac, better equipment, and far more combat experience) he nearly died fighting Urgals.
During a clash on a patrol, he becomes overwhelmed and later admits he would have died if Lord Varis and his men hadn't rescued him.
So the same person calling Eragon "totally helpless" had himself needed saving against a stronger opponent.
Meanwhile Eragon, at sixteen, is expected to survive encounters with Urgals, the Ra'zac, escape Gil'ead, and eventually fight the Shade Durza with far less experience.
The "weakness" Murtagh condemns in Eragon is something he has experienced and loathes about himself.
Even in his twenties, after everything he's survived, Murtagh is still forced to confront the same lesson. During the events of Murtagh, he nearly dies again.
During a boar hunt, he's left dazed, injured, and moments away from death before being rescued. Afterward, Bachel tells him:
It's a simple observation, but it cuts to the heart of Murtagh's character. For most of his life, he equates needing help with weakness. His pride convinces him that accepting assistance is failure, that asking Eragon for help would somehow diminish him.
Eragon becomes a reflection of the vulnerability Murtagh spends his life trying to hide from. It reminds me of this Holly Black quote:
A mirror is exactly what Eragon is for Murtagh, and he acknowledges this at the end of Eldest.
Eragon rejects the idea in the heat of the moment, but Murtagh is right. They're incredibly similar, but they respond differently and have different outlooks on life. The reason they clash at times is because they're forced to look at themselves through each other.
Which is why I love how Paolini pays this off at the end of Murtagh.
When Murtagh enters the scrying chamber to speak with Eragon, the first thing described is the mirror itself:
The description feels strangely personal: a lone mirror, human, imperfect. Not accepted by either dwarves or elves.
It's basically Murtagh.
Then Paolini has him stop and look at his own reflection before the conversation even begins.
Even Thorn is absent because the room is too small. Murtagh has no companion, no distraction, no shield. He's forced to stand alone and face himself.
Then the mirror changes, and Eragon's face appears exactly where Murtagh's reflection had been.
"...all-too-familiar." That wording is doing a lot of work.
Throughout the entire novel, Murtagh can't escape Eragon. He constantly compares himself to him, wonders what Eragon would do, hears stories about him, measures himself against him. So when Eragon finally appears, he occupies the exact place Murtagh's own reflection had been.
The mirror literally becomes another mirror.
At first, Murtagh approaches the conversation armored with resentment and defensiveness. He's prepared to be judged.
Instead, Eragon meets him with compassion, and Murtagh finally lets his guard down:
His posture softens, his emotional defenses crack. For perhaps the first time in the series, he willingly lets Eragon see him without the mask.
Later we're told:
That's the real difference between the Murtagh of Eragon and the Murtagh at the end of his own novel.
Back then, he projected and lashed out because he couldn't bear what he saw reflected back at him. Now he accepts responsibility. He doesn't make excuses or redirect his pain onto someone else.
And finally:
That line always gets me.
For years, Eragon functioned as the mirror Murtagh hated looking into because it reflected everything he feared about himself: weakness, vulnerability, loneliness, dependence.
But by the end of Murtagh, the mirror hasn't changed, but Murtagh has. Eragon accepts him without judgment, and in doing so, Murtagh is finally able to accept himself. The mirror meets its reflection and, for the first time, doesn't recoil.
cool beautiful women complimenting you is like ten years of therapy

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Arya appreciation post
feat. angela and elva debut
bonus: queen arya shenanigans (fírnen!!!!!!!!!)
last frame is canon, she’s down horrendously bad
Arya appreciation post
feat. angela and elva debut
bonus: queen arya shenanigans (fírnen!!!!!!!!!)
DESCRIPTIONS OF BROM in the beginning of Eragon
Eragon as always tried to do something heroic and ends up being hurt. Murtagh is worried about that idiot and Eragon is just happy to know that his brother still cares about him
Fontainebleau State Park, Louisiana by Lana Gramlich

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Brom whose relationship with Selena stayed strictly chaste for her own safety (they could never risk her giving birth to a child who didn't look like her husband) watching from afar as the women he loves and who loves him back also loves a monster. Brom watching from the gardens as Selena and Morzan walk by with his hand on her back, the two of them in a deep conversation about magic and literature and philosophy. Brom watching Morzan hold Selena's face more gently than he's done anything else in decades, kissing her with real love. Brom watching as Selena becomes pregnant again, the months passing and her growing with another one of that monster's spawn.
(Brom hating himself for that thought; the child might be half Morzan's but it's also half Selena's. Even still, he can't help but resent Murtagh and the boy's unborn sibling).
Brom watching Selena love Morzan and Morzan love her and being forced to confront the fact that that monster is still a person. That the monster who killed his dragon, who has slaughtered countless Riders and soldiers and innocent people, is also a man who rides for hours to satisfy his wife's cravings and who tells stories to his unborn child and who dreams of a future where his children and wife can be safe.
:)
I just think evil characters are a million times interesting when they're allowed to be something other than just evil.
I wonder, after Murtagh was born but before he was taken by Galbatorix's servants, if Morzan and Selena curled up together with Murtagh between them. Morzan tracing his infant son's cheeks, marveling at how for the first time in so many years he was able to create something good, feeling Murtagh's tiny heartbeat and thinking about when his dragon first hatched, before everything went wrong. Feeling secure for the first time in a long time, safe in their bed chambers with his wife healthy and sleeping next to him and their son secure in his arms, not knowing that that security would be ripped away in just a few hours with yet another painful remember that he sold his life away.
I know the fandom tends to default to Morzan not caring at all about Selena and only wanting to use her but I think their relationship is a million times more interesting if they actually genuinely and truly loved each other but that love couldn't get past Morzan's rage and hatred, his past traumas, and Galbatorix's control over him.
A Morzan who loved his wife more than anything, who wanted to love his sons, but by the time Selena and Murtagh enter his life, that life hasn't actually belonged to him in a very long time. He's stained by a century of blood and violence and cruelty, he's leashed to a man whose humanity died with his dragon, and Morzan's own wife and son are nothing but tools no matter what he may have wanted for them.
A Morzan who is only allowed a family, only allowed some semblance of happiness and joy, when that family serves Galbatorix. Selena as the Black Hand and Murtagh as a sacrificial lamb, raised to be whatever the king wants him to be. Neither of them are truly Morzan's because he doesn't have anything of his own anymore; everything he is and has belongs to Galbatorix.
Also Eragon is his son because it makes me happy.
Colette Dalal Tchantcho in Domina (s1) as Antigone
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"shipping and blorbofication are not inherently at odds with understanding a story's deep themes" and "some people can't grasp the themes of a story because they never learned how to engage with stories outside of the lens of shipping and blorbofication" are two statements that can coexist
blorbofication to me is when you love a character in such a laser focus way that you somewhat detach them from the narrative from which they are inserted and treat them in a way roughly similar to how you'd treat an oc for which you still have no story and just like to put them in situations just for fun. which there's nothing wrong with btw, it's just that it can easily lead to people forgetting the character engine in a narrative and not just a barbie doll

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brom and jeod
I find it very frustrating when fanfic authors decide that a character is too op and instead of including their canon flaws, they just decide to make them completely incompetent at everything that isn't fighting. I find it infuriating when authors and writers for books, shows, movies, etc do the same for their own characters.
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