Woodland Archivist

Suilad, Mae Govannen!

I am an artist, writer, and reader who deeply loves the works of Tolkien! If you too are an enjoyer of The Lord of the Rings, then this is the place for you! My blog is home to my artworks and writings (mainly fanfiction for The Lord of the Rings), aesthetics, and posts about Middle-Earth, along with other bits and pieces. Essentially, this is my scrapbook that I’ll fill with things that make me happy.

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About Me:

Christian

ENFJ

English / Literature nerd

Aspiring psychologist

Favorites:

Frodo Baggins

Cosmo Sheldrake, Lord Huron, The Oh Hellos

Van Gogh

Minecraft

Studio Ghibli

Links:

Non-LOTR art sideblog (for my other ocs and interests, including DnD, Art Fight, and Minecraft): @mels-misc-art

Quotev: https://www.quotev.com/Meluiloth

Ao3: https://archiveofourown.org/users/Meluiloth

Art Fight: https://artfight.net/~Meluiloth

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“If ever you are passing my way, don't wait to knock! Tea is at four; but any of you are welcome at any time." -Bilbo Baggins, The Hobbit

Nerdanel’s Lament

Misfit is very close to completion, and it is a direct link to Traitor - but the difference in writing quality and style is glaringly obvious. Since the two stories are meant to go hand-in-hand, I truly want a sense of harmony and congruence between them.

Hence my serious consideration into a total overhaul of Traitor.

The last few years have proven to be a battleground for modern creativity, especially in film. From reboots to remakes, successes to failures, original content to the involvement of AI — our culture is caught between stagnation and flourishment, and the world always holds its breath in anticipation of the next cinematic masterpiece. In 2025 and 2026, two movies in particular have risen to headlines: Guillermo Del Toro’s Frankenstein, and Emerald Fennell’s Wuthering Heights. Both are adaptations of classic gothic novels, both plan to heavily involve the director’s own artistic interpretation in tandem with the confines of the original works, and both films even share Jacob Elordi as a lead actor.

The presence of such close parallels has naturally sparked a great deal of comparison between these two works on the internet, and as is the way of such criticism, the audience has chosen a champion: Frankenstein 2025. While Guillermo Del Toro’s adaptation does have critics who feel that the film does not resemble Mary Shelley’s novel as closely as it should, it has been widely regarded as a success, with an 85% rating on Rotten Tomatoes and many viewers praising its unique spin on the classic story, as well as the sincere acting performances and creative liberties the director took in bringing it to life.

Meanwhile, Emerald Fennell’s upcoming Wuthering Heights has been heavily criticized for many reasons. Some viewers harshly condemn the film’s apparent focus on erotic romance while undermining the darker, more thoughtful themes of the book. Others mock the exaggerated and surrealistic costuming and cinematography. Even the casting has sparked heavy controversy, with many pointing out the discrepancies between the characters of the original novel and the actors chosen to portray them.

The question being asked — and answered — in this essay is this: Why is Guillermo Del Toro’s adaptation, and the artistic liberties he took in making it, celebrated while Emerald Fennell’s is condemned? What makes a good adaptation?

What it really comes down to is not so much the smaller design choices — though those do play an important role in film, particularly adaptations — but the perspectives of the directors themselves. After all, despite Frankenstein’s largely positive ratings, there are several elements of the original novel that Guillermo Del Toro altered to better serve his own portrayal. For example, the ending of the story was changed, with the film’s conclusion of The Creature embracing the sunlight and the opportunity for a new life while Mary Shelley’s novel concludes with The Creature wandering into the night in search of a place to set himself on fire and thereby end his own life. This change is, in its own way, as drastic as casting the fair-skinned Jacob Elordi to portray Emily Brontë’s Heathcliffe, who was heavily discriminated against for not only his social standing but his identity as a person of color in a European society. Both of these story elements are deliberate choices made by the directors of these respective films to alter the source material they were adapting — but while Guillermo Del Toro is praised for his nuance and creativity, Emerald Fennell is harshly criticized.

To understand why that is, an analysis must be made of each of these films and the vision behind them. Though it may seem that Guillermo Del Toro used the original Frankenstein novel to tell his own story in certain respects, what he really did was take the aspects of the book that resonated with him and amplify them, thereby creating an adaptation that both mirrors the original and expands upon it. Frankenstein 2025 is the creation of both Guillermo Del Toro and Mary Shelley, a partnership across generations. As Del Toro himself puts it in the forward of his screenplay: “I was … trying to make Mary Shelley's pangs and teenage questions as burning and as genuine by asking them again in the solitude of the creature and the indifference of the universe. Shelley’s book and mythology had been filtered through my heart and pumped through my veins so often as to not become transfusion but infusion.” The story and characters retain the original themes of the novel, portraying them in a way that is both realistic and gorgeous, with a great deal of research and painstaking artistry behind every scene and line of dialogue. Said Del Toro: “It took about two years to complete the screenplay, and I found a few of its key images by virtue of trying to lend my pain to the creature, my ambition to Victor, and my hope to Shelley. I tried to serve them all to the best of my abilities.” This film was a labor of love for Del Toro, made because he respected and understood both the original novel and its author.

Emerald Fennell has also spoken about her experience with Emily Brontë’s Wuthering Heights, as well as her vision for her own film. This quote from an interview with BBC reads: “I wanted to make something that made me feel like I felt when I first read it, which means that it's an emotional response to something.” On the surface, it appears that her adaptation of Wuthering Heights is a passion project born from a ‘profound connection’ with the original work. However, there is one quote that acts as a smoking gun for her real intentions, and what brands her film as an unfaithful adaptation: “...I filled in the gaps aged 14 (to) see what it would feel like to fulfil my 14-year-old wish, which is both good and bad.” While Emerald Fennell’s goal seems similar to Guillermo Del Toro’s at first glance, this statement, in addition to other key changes her film is making from the source material — such as ignoring the racial element of the character Heathcliffe by casting a light-skinned actor to play him and ignoring the original dark and gothic themes in favor of romanticized sexual displays and aesthetic appearances — shows that Emerald Fennell intends to make her own story without much regard for the original themes of Emily Brontë’s novel. A love letter to one’s younger self is not a love letter to another artist’s work, it is creating an original work that masquerades as an adaptation while discarding the source material.

Himmmmmm

Please and thank you!

Thanks so much for the ask! It's always good to see you on my activity :D

This is for the writer ask game on my blog! If you're curious about my writing methods / WIPs, feel free to send in an ask!

Overwriter : What is the easiest thing for you to write/ what are your strengths?

This is a great question; I love all parts of writing, and I think I can do most things fairly well, but there are a few aspects that I feel like I shine best in. Those aspects are dialogue and emotions!

Writing dialogue has always been so fun for me, I love the way that characters connect with, communicate with, and bounce off of each other to further the story . I think that conversations (and sometimes arguments) can be the most important parts of the story, depending on what kind it is - the things that people say (or don't say) are what define our real-life relationships with each other, and I aim to work that into my writing. Besides, it's always so satisfying when I can write a truly eloquent and emotional sentence.

My other favorite thing to write kind of ties in with this, and it's writing emotions. What a character feels is just as important as what they say, and sometimes they feel more than they say. The true story lies in the heart, and that's what drives everything - it's so important to me to delve into the psychological aspects of a character, and how what they feel / think / believe drives their decisions and development.

I was tagged for this game by @from-the-coffee-shop-in-edoras, thank you so much!! I miss doing tag games like this, and it works out great because I've been writing a bunch.

Have a scene from Misfit (which is now up on ao3! https://archiveofourown.org/works/75475491)

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Culfin arrived at Findoron’s home only a short while after Findoron himself had returned from his patrol, and naturally he and Feren invited Culfin to partake in their evening meal (which was a rabbit and rosemary stew that had been simmering over the fire all day). Culfin, who was still hungry since he had left his dinner only half-eaten, willingly obliged, and so a good time was had by all. Culfin found his worries eased by the laughter he shared with his friends.

As the last of the evening light faded and dinner was almost over, Culfin decided to bring up the subject he had come to discuss in the first place.

“Oh, by the way—I will be playing my violin at the New Years’ feast soon,” he announced. He sipped his cup of ginger tea as the two heartily congratulated him, but after they had finished he went on: “It will be very enjoyable, I am sure, but I do think that the performance would be much enhanced if I had another instrument to accompany me. Perhaps a certain lutenist I know would like to join me?” he asked, looking slyly at Findoron, whose smile immediately turned to a scoff, like he found the question funny.

“Perhaps not,” he snarked. “You are out of your mind to ask me that.”

Culfin opened his mouth to protest, but Feren beat him to it. “I, for one, think it is a wonderful idea!” he exclaimed, looking reproachfully at his nephew. “You play beautifully, Findoron—don’t you want a chance to show your talent?”

Findoron shot his uncle a sharp glance. “No, I do not, and I’m sick of you both asking me this,” he said sullenly. He turned back to Culfin and added, “I am very pleased that you will be performing, and of course I will attend the feast to watch you, but I won’t partake. I wouldn’t want to ruin your show.”

Culfin fell silent for a moment, noticing the sudden tension in the atmosphere. Findoron was not joking—he truly thought that his presence would sour any goodwill the Elves would have for Culfin’s playing. But Culfin was being serious as well—and this time, he did not want to accept ‘no’ for an answer. “Findoron, if I thought you would ruin my show, I would not be asking you to join it,” he said earnestly. “I want you to play with me. It would mean a lot to me if you did.”

The two Elves looked at him, surprised; Feren in particular looked very moved by Culfin’s statement. “You are very kind, Culfin… Even if my nephew does not accept your offer, I thank you for it. He is blessed to have a friend like you.”

Culfin smiled at him gratefully, but soon returned his focus to Findoron, who had not answered. He, too, looked shaken by Culfin’s sincerity—even though they had been close friends for so many years now, their relationship was mostly a private one, and Findoron liked it that way. Even when Culfin had managed to drag Findoron to some feast or another, Findoron remained staunchly silent and was thus ignored by all but Culfin. He had never drawn attention to himself in such a way as a public performance, but if he did so, attention would be unavoidable… and it may not be good attention.

“I don’t know,” Findoron said after a long moment. “This is a lot to ask of me, Culfin.”

Culfin nodded, acknowledging this.

“But,” Findoron went on, looking up, “since it is you asking… I will consider it.”

“Splendid!” Culfin exclaimed, his grin returning in full force.

Findoron threw up his hands in exasperation. “Don’t get your hopes up—I said I would think about it, nothing more!” he cautioned, but he was hiding a smile.

And, after dinner, Culfin and Findoron spent several hours going over the songs that Culfin was planning to play.

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