Here Be Strange Things

Your awesome Tagline

1,089 notes

Anonymous asked: talk to me about boromir


Ten Things About Boromir the Bold That Never Made It Into the Red Book of Westmarch

I. His strongest memory of his mother was the smell of the sea she carried in her hair; how dark and tall she stood, looking towards an east Boromir would ever only long for in her honor.

II. Boromir did not ever doubt that he was loved. He was the first son of Gondor, swaddled in a walled citadel and rocked in Pelennor’s arms. He did not question why his father’s love was like stone, nor why his brother looked to him like he was the highest point of the ramparts. They were a city, and how else was a city to love?

III. For Boromir’s fourteenth year, the master of hounds promised him a pup of his own—One of Huan’s own line, the man swore, As befits a prince. What Boromir received, however, was the runt of that spring’s litter, a wheezing, stumbling thing that Boromir stubbornly nursed with a cheesecloth dipped in milk, then fed meat from his own plate.

Bellas, he called her, and ignored any who dared laugh.

Bellas never grew taller than Boromir’s knees, but she was strong and stubborn and loyal—for three years, Boromir went nowhere without her shadow at his heels. Bellas slept at the end of his bed; waited patiently during Boromir’s lessons; loped after his horse when he went riding.

Boromir was seventeen when Bellas was killed, her neck broken by an orc who had stumbled into their hunting party. She had put herself between her young master and the interloper, and afterwards, Boromir had carried her in his arms all the way back to Minas Tirith.

He buried her beneath a sapling tree on the slope of Mindolliun, and wept where no one could see him.

IV. Faramir looked east, and dreamt of great waves. Boromir watched him, heart heavy in his chest.

V. He had been in love with—well. He never said.

VI. Boromir was ill at ease in Elrond’s house, feeling too rough with travel, and heavy—all of Gondor on his shoulders, the knowledge that Faramir’s fine speech and strange visions might have meant something here, where Boromir, Protector of the City, did not. But he burned when they dismissed Gondor, his fingernails biting into his palms when the strength of Men was so questioned. (He had not seen any Elves come to Osgiliath’s defense, nor heard of any wizard-craft that kept the Corsairs from their brazen pillaging of Langstrand and Belfalas. What had these mighty peoples done to battle back the Shadow in the East except sit in their cool green palaces and speak in riddles?)

VII. He liked the Hobbits best, even after. They reminded him most of his own men, with their stubbornness and light-hearted complaints, their love of food and pipe-smoke and story. Three of them had left behind the whole of their world, to walk into darkness beside just one, and—yes, Boromir could respect such brotherhood.

VIII. (Aragorn remembered when Boromir was only a child, rosy-cheeked and happy to leave his mother’s side, to follow Thorongil around the citadel burbling in some tongue only Denethor and Finduilas could decipher. It was strange to meet the man that child became, to stand at a height with him, to wield a sword at his side, to listen to him speak of peace for Minas Tirith like other men spoke of lovers.

It made Aragorn feel very old, an ache deep in his bones that had not been there before. Careful, he wanted to caution the man, as he had once cautioned the child. Reach too high and you will fall.)

IX. One rainy night, when Boromir was keeping watch over the sleeping Fellowship, he sketched it out in his mind—the streets he would lead Aragorn through, the hidden corners of the palace he would show to Merry and Pippin, the great gates of the city whose craftsmanship he might justly boast of to Gimli. How Minas Tirith, that shining city, would chase the sorrow from the Fellowship’s faces, might shield them, might give them rest.

The rain dripped down his neck, cold, but he was gone to Minas Tirith—This is my home, he imagined himself saying to his companions, his brothers. This is home, may you always be welcome.

X. His last thought was of Faramir.

(Brother, little brother, I—)

Filed under Lord of the Rings Boromir

172,775 notes




Favorite missing book quotes → Ron’s dueling advice

 (via thankyouforyourcooperation)

And then a very detailed letter from Sirius explaining to Harry 101 ways to beat someone in a duel and a list of useful hexes

(via nataliarmanova)

Filed under Harry Potter

4,302 notes

On the outside, Korra is tough, hot-headed character who is mentally strong. But at the point when she turned into a child, Korra was alone, powerless and terrified. Korra was scared and confused; she felt almost childish on the inside because of how helpless she was. As a result, her emotions of feeling childish and inexperienced became a reality and she was physically portrayed as a child. What this did was symbolize just how vulnerable she was at the time. But once Korra realized that she would be able make it to the Spirit Portals and fulfill her goal, she transformed back the confident, headstrong teenager she really is. Rather than allowing Korra to show her emotions at a basic level, the episode took the scenario much deeper and showed how Korra truly felt.” (read more)

(Source: kyoshi-s, via maggins)

Filed under Avatar the legend of korra

48,371 notes


The raven is sometimes known as “the wolf-bird.” Ravens, like many other animals, scavenge at wolf kills, but there’s more to it than that.

 Both wolves and ravens have the ability to form social attachments and they seem to have evolved over many years to form these attachments with each other, to both species’ benefit.

There are a couple of theories as to why wolves and ravens end up at the same carcasses. One is that because ravens can fly, they are better at finding carcasses than wolves are. But they can’t get to the food once they get there, because they can’t open up the carcass. So they’ll make a lot of noise, and then wolves will come and use their sharp teeth and strong jaws to make the food accessible not just to themselves, but also to the ravens.

Ravens have also been observed circling a sick elk or moose and calling out, possibly alerting wolves to an easy kill. The other theory is that ravens respond to the howls of wolves preparing to hunt (and, for that matter, to human hunters shooting guns). They find out where the wolves are going and following. Both theories may be correct.

Wolves and ravens also play. A raven will sneak up behind a wolf and yank its tail and the wolf will play back. Ravens sometimes respond to wolf howls with calls of their own, resulting in a concert of howls and calls. 

Sources: Mind of the Raven, Bernd Heinrich, The American Crow and the Common Raven, Lawrence Kilham 

(via swan2swan)

Filed under awesome nature

246,157 notes







Easily the most horrifying line of dialogue I’ve ever heard in an animated movie.


also can we point out that none of the characters were white? like damn accurate depictions of Biblical characters

whispers this is one of my all time favourite movies

I adore this movie.  ADORE IT.  And the above scene is a perfect example of one of the main distinctions this movie has amongst all movies, but particularly amongst animated movies: the bad guys are not mustachio-twirling villains who do evil shit because they love being evil or generically want power.  They actually bothered to develop each of the major characters and explore their motivations and how their actions evolved out of their personalities and their experiences.  It would have been super easy to take the narrative from Exodus and make the pharoah Generic Evil Dude, but they went beyond that and explored the relationship between the father and his sons, Ramses and Moses, and how those intersecting family relationships impacted both men’s actions as adults.  Pharaoh’s dialogue there is terrifying not just because he did a bad thing; but because it’s clear from his words and his face that he genuinely believes that he was acting out of what he thought was the best interest of his family and his kingdom.  That’s how you build a human villain- they have motivations that are complicated but sympathetic, and then they take it to a place where you’re like, “Wow, that is super not okay.” 

Plus this scene resonates because it recognizes that it’s not even the infanticide which is the ultimate source of the evil here (although infanticide is pretty bad), but rather the dehumanization of an entire race of people that allowed Pharoah and his soldiers to justify the infanticide to themselves so they could perform it.  Like, congratulations Dreamworks, you totally boiled down genocide for the under-twelves.

Then you have Ramses, who is just a hot mess of daddy issues, and they do a great job of showing the way he and Moses are torn up about how they’re being forced into these opposing roles.  It’s not that they don’t have agency, because they do, but you get the sense of how circumstances are shaping them into men who are representative of two diametrically opposed cultures and agendas.  Ramses is a villain, but more because he feels he is standing in his father’s sandals and has to take up the villainy that his father worked his way into than because he has any particularly villainous motivations. 

Then, in addition to the character development and general craft, the animation and music are absolutely stunning.  The plagues are given impressive weight not by 5-star special effects (as would have been tried if this was a live action film) but by the way they are set up and reacted to by the characters.  The slaying of the firstborn is not graphic at all but it is legitimately terrifying. 

Bottom line, everything about this film is amazing and if you haven’t seen it sometime over the past 15 years, you are missing out.

ITA about this movie, its ethnically accurate character design, and its music.

(via frozen-void)

Filed under The Prince of Egypt

482 notes


In Greek Mythology, the Naiads or Naiades were a type of nymph who presided over fountains, wells, springs, streams, and brooks. They were known to be very ancient spirits that inhabited the still waters of marshes, ponds and lagoon-lakes. The essence of a Naiad was bound to her spring, so if a Naiad’s body of water dried, she would die.


In Greek Mythology, the Naiads or Naiades were a type of nymph who presided over fountains, wells, springs, streams, and brooks. They were known to be very ancient spirits that inhabited the still waters of marshes, ponds and lagoon-lakes. The essence of a Naiad was bound to her spring, so if a Naiad’s body of water dried, she would die.

(via maggins)

Filed under awesome art Greek mythology