Ainur and Shapeshifting

Since this topic is swiftly becoming essential to several of my threads, I figured I’d put some actual thought into my headcanons for Ainur shapeshifting and bodies. 

What we know from canon: 1) Ainur can change “raiments” as easily as one might change a garment, or discard them and walk unclad. 2) They can get stuck in their body if they invest too much of themselves in worldly materials; e.g. Melkor. 3) They can lose those bodies if they’re too damaged, or their spirit is removed by force; e.g. Sauron, on like 5 separate occasions get it together buddy, and also Saruman.

(Side note: In various versions of the Lay of Leithian, Sauron’s wolf-form is described as a “wolf-hame”, a term taken from Icelandic sagas, which (I believe) means something like “hide” or “skin”. There’s equivalent references in the Loki myths about him borrowing a cloak of feathers to take the form of a falcon. Lots of myths have figures that literally wear a skin or cloak to change form– and while I’m tempted to use this mechanic because it’s super cool, I don’t think that full Maiar would need to use a magical totem to change shape, unlike Beren and Luthien with their stolen skin-cloaks.)


Most important take-away from the Lay was that Sauron’s wolf body was physically left behind when he fled in the shape of a Vampire, leaving a big ol’ dead maia-wolf corpse in its wake.  We also know that the body he made after Numenor wasn’t very good; he lost the ability to use a “fair form” from that point on. 

This means several things for my ‘Verse: leaving aside the idea that Sauron is now “more corrupt” and therefore less able to appear beautiful, because we’ve elected to ignore this association, given that it is gross– he is simply out of juice. He just used a considerable amount of power to make the One Ring, that’s his major tie to the material world now, and he can’t access that power for making himself a new body. But even if he could, it still wouldn’t be as versatile and awesome as his original body, because that body was created by Aulë.*
 

To get to the heart of the matter, the way I think Maiar shapeshifting works is this: They have their original, Vala-made body that was created to house their spirits on earth. This body is their base body, and it can be taken off if they want to walk unclad, but if they wish to interact with the world, they must return to it.

(Edit: This is further demonstrated by Olorin’s “death” at the hands of the balrog; when he returns to Middle Earth, it is in a new body– still recognizably Gandalf-shaped, but different, because it was made fresh by the Valar in Valinor. It’s a big deal that they made him a whole new body just to continue the war against Sauron!) 

What maiar can do, with sufficient power, is craft themselves a “skin” (not a tangible item, but more a blueprint that they keep on file in their mind) to fit over their base form, which transforms them completely into whatever shape is intended (i.e. not an illusion or glamor– which they could probably also do as a low-energy alternative to a full transformation).  If that “skin” is damaged irreparably, they can leave it behind. That skin is now essentially “dead”, they can’t fit back into it. Sauron’s wolf body is killed by Huan; he changes into a bunch of different shapes to try and escape, but this uses a huge amount of energy and eventually he’s tired out and reverts back to his base-shape. Luthien threatens to destroy his base body as well, and “send him back to Morgoth sniveling and houseless, etc etc”. When he escapes as a vampire, the “dead” wolf body is left behind, useless to him. If he wants turns into a monster wolf again, he’s gotta make a new one. 

Without a base form, transformations are not possible. They need the base form to put the “skin” over, or else it’s like trying to install a program without having a computer. There’s nothing to transform, nothing to put it on
So when Sauron loses his original body in Numenor, what he has to make afterwards is his own home-brewed base form. It’s not as good as the one Aulë made him, because it can’t be. He’s not a Vala, he doesn’t have the same demiurgical abilities to make a whole new working Maia body. He just does the best he can with scraps and superglue and duct tape; it’s not pretty, it’s not very flexible, or capable of changing shape– but it gets the job done, and allows him to maintain a physical presence on earth. Until he loses that one too GDI SAURON THIS IS WHY WE CAN’T HAVE NICE THINGS.

The reason Sauron can go from shape to shape so quickly, and sneak out of situations by transforming into another skin without endangering his base-shape, is the same reason he’s known as being a mighty Wizard or Sorcerer: he is insanely fucking powerful. It takes a lot of energy to change shape. Most Maiar don’t even do it once. (Some, in Huan’s case, can’t even speak without expending energy permanently– see my Huancanons). Thû does it all the time, rapid fire, without pausing to catch his breath in his real body until he’s practically bled out, and then he takes off flying. What a showoff, right? The first time the Silmarillion mentions him, he’s described as being the most powerful of all Maiar. He’s got a lot of spare power, and he’s smart about how he uses it– UNLIKE Melkor. That’s why he’s still a big deal in the Second and Third Ages. That’s why he’s still kicking even after the Valar slam-dunk him into the Marianas Trench and tell him to stay down.

 The One Ring, which in my opinion was a poor move on his part, reduced his flexibility considerably for the sake of having direct sway over people’s minds and bodies. A calculated decision, made by a guy who’d lost all his safety nets, and no longer had a Vala backing him up. He wanted to have all his power accessible to him to use in manipulating armies and enemies– but it came at the expense of using his favorite First Age tactic of changing shape to avoid damage. Third Age Sauron is actually much more powerful than First Age Sauron, but he takes a lot more hits, and is a lot less sneaky and directly involved in the action (something he probably learned the hard way in the Second Age). 

Valar, on the other hand, don’t have as much thinking to do about shapeshifting. They’re the original shapers, with direct power over matter. They don’t need skins to alter their bodies’ core shapes, they can manipulated the core directly. But as Melkor demonstrates, they can also deplete their power sufficiently that transformations becomes impossible. For my Melkor, his inability to change shape comes gradually over time– it’s a loss of elasticity; the material he’s made of just doesn’t stretch as far as it used to, and it can’t hold on to different shapes without snapping back into place after shorter and shorter periods of time. 




*(In WesleyVerse, all maiar are given their original bodies by the Vala they chose to serve. The body is crafted, then given the sacred fire/life by Eru, and then filled with the unique consciousness that was drawn down out of the collective consciousness I call the Sea of Maiar, which exists in the Halls of Eru. This is my compromise between the Silmarillion canon, and an idea from the early drafts where the Valar behave much more like the Aesir, and the maiar are their physical children.) 

onehandedly:

But, please: Imagine Curufin and the Fëanorian healers crafting a two pieces prosthetic for Maedhros. 
One piece, the hand itself, being external and detachable while the other is internal: a rod, or series of metal rods, made of an inert alloy that are surgically affixed to the bones inside Maedhros’ right arm, with the additional aim of strengthening them, and end in a mechanism that protrudes from the flesh of the stump and allows the hand-piece to be easily and instantaneously “slotted” and secured in place without having to use any harness. 

Probably this would solve the issue of keeping the prosthetic firmly in place without in some way interfering with Maedhros’ balance or impeding his movements too much. There would be two major issue though: the surgical operation needed to put it the rods and gear in place, which would be a pretty major one, and the need for some “insulation” between the external gear and the internal rods to prevent the metal inside from cooking the Noldo’s arm were the external part to come into contact with fire (pesky Balrogs!), maybe some silicon based material (since silicon is not toxic to humans) would help this though. Another possible issue would be the maintenance of the mechanism, for very strong direct blows could deform it beyond salvage. Maybe something of the sort happened after Curvo was dead and Maedhros, despite knowing it was a stupid thing to do, never asked one of the surviving smiths to fix it and kept it broken and without a hand “in mourning” until the eve of the last kinslaying. 

Still I love the idea of Maedhros having various different prosthetics, each with its own specific purpose at the ready and easily interchangeable. Curvo brings a new one almost every time they meet and Maedhros has never the heart to refuse it or tell him that he has more than enough, because Curvo seems so satisfied as he tries them on and almost relieved of a burden.
Besides Maedhros likes taking the prosthetic off and changing it before the people he wants to unbalance because he has a dark and evil sense of humour. What is more the fact each ‘hand’ has one specific purpose makes those closest to him able to easily predict what his plans and mood are (and have time to run for the hills.. or vales, since Himring is a hill).
The most complex prosthetic, a true masterpiece of Curvo’s craft, is a perfect replica of a hand with mobile wrist and joints that can be “blocked” in specific shapes and positions which Maedhros uses during formal dinners because he hates appearing in need of any help.
 

doegred-main:

//I will never understand completely why people argue Maedhros would be among the first sons of Feanor to be re-embodied. Sometimes I think people forget how Maedhros argued for the last kinslaying.
Maedhros forced his brother’s hand in order to commit it. He refused to hand himself for judgement and convinced Maglor to do the same. Yes, he tried to avoid the kinslaying of Sirion, but in the end he did lead his troops against the Havens when Elwing refused his offers. 
He might be the diplomat among his brothers, but sure enough he is probably among the least innocent of them.
He kills himself partially to be able to cling to the Silmaril, something the Valar clearly do not appreciate at all.

I do not see him as the repentant elf who would bow to the Valar and ask for forgiveness. Quite the contrary actually: his willingness to compromise, the fact he built his own moral code and follows it as it’s shown by (for example) searching for Dior’s sons (when he had no reason to), all this things rather than make him more likely to bow to the Valar’s rule make him significantly less likely to.
He is prideful, he doesn’t feel like he owes them. He doesn’t see himself as a monster or a hopeless sinner. He, in his head, is somehow right and if he owes something to somebody, those somebodies are not the Valar and their (in his opinion) flawed moral compass.

Miriel Therinde

hweanaro:

My otp: I feel morally compelled to say Míriel/Finwë but it would not be the truth. I don’t think there’s a ship I count as an OTP for her.
My most hated pairing: …Again, not sure I have one. I can’t think of anything that prompts such a strong reaction. Except for, I don’t know, incest with Fëanor, but thankfully that is not something I ever found.
My unusual otp: Unusual… that might be Finwë/Míriel/Ingwë. It’s one of those things that I don’t even try to include in my general idea of “what actually happened”, but I won’t scroll past fics of this threesome.
My crossover otp: …Míriel/Arachne?
My brotp/friendship otp: I enjoy certain versions of the relationship between Míriel and Indis. But also people from Cuiviénen, some OCs of mine who are nobles and were friends of hers, and Rúmil.
Character headcanon: I fear all of my most interesting headcanons about her are actually borrowed from other people (like Syrisa and Clara), because I unfortunately tend to concentrate on Fëanor’s view of the situation and how it affects him— which leaves me less space to think about her specifically. However, a headcanon I like (and I think it’s syrisa’s) is that she used a lot of make-up and particular headpieces to cover the fact that she felt her body was decaying. Another (and this one should be Clara’s) is that she rarely indulges in small talk and pleasantries, she is unlikely to use common phrases to greet people or say goodbye (like “I wish you a good day” and such), and while that might seem rude at first that is actually just how she rolls. If she ever says it, she actually means it.
A Gif that shows how I feel about the character: 

image

*gets to the headcanon portion and begins weeping* 

One fallacy of character design is having bodies that always match personality types; the body is a visual metaphor for the character as a whole. This makes for easy visual cues and recognizability, so it’s a useful tool, but it’s important to remember that it IS a fallacy in most cases, and playing with that tension can be very effective (and it’s also probably necessary for realism).  

For Ainur characters though, their bodies ARE a visual metaphor for their personalities. Their bodies were made expressly to suit their needs and desires; they were their own designers, their flesh is an extension of their thoughts and feelings. Except for Melkor’s. 

Melkor is the only one stuck in his body; and for a spirit that mercurial and prone to extremities, there could be nothing more demoralizing. 

I can’t tell you how therapeutic it is to have a muse who is at least as heartbroken as I am about the fixed nature of their body, with its permanent maladies and limitations; who, even if they had a body that was perfect, would not be content because it was only one, a singular facet being forced to represent something manifold. Am I projecting a bit much? Probably. But there was a reason I was drawn so hard to this character and why they have stuck with me this long. There are many reasons why I like Melkor and relate to him, but this is definitely one. 

captain-sforza:

Y’all I know Eonwe is supposed to be like some dude but honestly I just keep picturing Zazu but like, original concept Zazu who was a secretary bird. But still Zazu know what I mean? Still voiced by Rowan Atkinson.

CAN U IMAGINE IT THOUGH

WAR OF WRATH

THAT DISDAINFUL ZAZU LOOK DOWN AT SAURON.

UGH PLEASE SOMEONE DRAW THIS

BUT BRO BRO DO YOU KNOW HOW CLOSE I WAS TO WRITING HIM AS A GIANT VULTURE?? (my design for him is based off of bearded vultures) I had that conversation between him and Sauron take place with Sauron as a wolf and Eonwe as a giant bird and all their body language was species specific~ UoU  soommmee daaayyy, fanfic~

ALso THerE iS FEMME EONWE THAT HERALDOFMELKOR WROTE ABOUT LIKE JUST STRAIGHT UP BUTCH WARRIOR ARMOR LADY

AND NOW YOU ADD SECRETARY BIRD??? MY OTHER FAVORITE OF BIRB??

I STILL CAN’T DECIDE WHICH VERSION I LIKE BEST >:U I kinda want a bald, bearded-vulture lookin’, bone-crunching, holier-than-thou, paladin-in-silver-armor lady Eonwe who is fanatically devoted to Manwe and will be uncompromising towards evil because her master is too kind and generous to make the “right” decisions…..   EONWES 

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