Fact-checked by Grok 2 weeks ago

Dark elf

A dark elf, known in Norse mythology as a svartálfr (black elf) or dökkálfr (dark elf), is a subterranean supernatural being contrasted with the luminous light elves (ljósálfar), dwelling in the underground realm of Svartálfaheimr and described as "blacker than pitch".^[1] These entities appear sparingly in primary Old Norse texts, primarily the Prose Edda compiled by Snorri Sturluson around 1220 CE, where they are linked to craftsmanship and the forging of divine artifacts, often overlapping with dwarves in function and habitat. Some scholars interpret the svartálfar as representing chthonic forces of the earth, embodying darkness and hidden knowledge rather than inherent malevolence.^[2] In contemporary fantasy literature and role-playing games, dark elves—most notably as the drow—emerged as a distinct archetype inspired by mythological roots but expanded into complex, often villainous societies. First mentioned briefly in the 1977 Monster Manual for Advanced Dungeons & Dragons by Gary Gygax as underground "Black Elves" hated by other elves, the drow were later developed through Greyhawk adventure modules (1978–1980) and settings like Forgotten Realms. In these expansions, drow are portrayed as a subrace of elves banished to the Underdark for their allegiance to the chaotic evil goddess Lolth, featuring obsidian-black skin, stark white hair, superior darkvision, and innate spellcasting abilities attuned to shadow and deception.^[3] Their society is typically depicted as matriarchal and hierarchical, dominated by noble houses led by Lolth's priestesses, where treachery, slavery, and spider worship define daily life, fostering a culture of ruthless ambition and isolation from surface-dwelling elves. In later editions, such as 5th edition's Monsters of the Multiverse (2022), drow portrayals emphasize cultural and societal influences over inherent evil, adding layers of moral ambiguity.^[4] This depiction has influenced broader media, including novels like R.A. Salvatore's Forgotten Realms series and video games such as Baldur's Gate, cementing dark elves as iconic symbols of underground intrigue and moral ambiguity.

Origins in Mythology and Folklore

Norse Mythology

In Norse mythology, the dark elves, referred to as Dökkálfar, are depicted as a race inhabiting the underground realm of Svartálfaheimr, distinct from the light elves (Ljósálfar) who reside in the brighter world of Álfheimr. According to the Prose Edda by Snorri Sturluson, these beings are "blacker than pitch" in appearance and live below the earth, contrasting sharply with the luminous, sun-like beauty of their light elf counterparts.^[5] This description positions the Dökkálfar as shadowy, subterranean entities within the Norse cosmological structure, often portrayed as skilled artisans rather than overtly malevolent forces. The term Svartálfar, or black elves, appears interchangeably or overlapping with Dökkálfar in the Prose Edda, frequently equating them with dwarves (dvergar) who share their underground habitat and expertise in metalworking.^[6] These black elves are central to myths involving the creation of divine artifacts, such as the forging of Thor's hammer Mjölnir by the dwarf brothers Brokkr and Eitri (also known as Sindri) in Svartálfaheimr. In the tale recounted in Skáldskaparmál, Loki wagers his head that no smiths can surpass the creations of the sons of Ivaldi; Brokkr and Eitri succeed in crafting Mjölnir—short-handled but indestructible—alongside the golden boar Gullinborsti for Freyr and the ring Draupnir for Odin, demonstrating the dark elves' unparalleled craftsmanship and their integral role in equipping the gods.^[7] Dark elves exhibit a complex neutrality toward gods and humans, blending ingenuity with vulnerability to the surface world. The Poetic Edda's Alvíssmál illustrates this through the dwarf Alvíss, a knowledgeable being from the underground who claims kinship with elven lore and seeks to wed Thor's daughter Þrúðr. Thor delays the marriage by quizzing Alvíss on cosmic names until dawn, when sunlight petrifies the dwarf into stone, underscoring the dark elves' (or associated dwarves') aversion to daylight and their shape-shifting or transformative traits in mythological narratives.^[8] Such stories highlight their roles as both creators and cautionary figures in the Eddic tradition.

Germanic and Other Traditions

In Old High German texts from the early medieval period, elves, including variants associated with darker or malevolent qualities, appear in charms and incantations where they are invoked either to aid in healing or to avert harm. For instance, references to "albe" or elf-like beings in medical and magical contexts suggest their dual role as supernatural entities capable of inflicting or curing ailments, as seen in glosses and charms preserved in manuscripts from the 9th to 11th centuries.^[9] These depictions predate more structured Norse accounts and reflect a broader Germanic belief in elves as ambiguous forces intertwined with human health and misfortune. Medieval folklore across Germany and Scandinavia portrays dark elves as subterranean dwellers who emerge to cause physical illnesses, such as "elf-shot" (sudden pains attributed to their arrows), and psychological torment like nightmares. In German traditions, the "Alp" — a type of dark elf or incubus — was believed to perch on sleepers' chests, inducing suffocating dreams, a concept etymologically linked to the English "nightmare" as "alp-träum" or elf-dream. These beings are connected to the álfar in Icelandic sagas beyond the core Eddic texts, such as the Vatnsdæla saga, where elf mounds and offerings highlight their chthonic nature and potential for both fertility blessings and nocturnal disturbances in rural communities. In the 19th century, folklorist Jacob Grimm further synthesized these traditions in his Teutonic Mythology, equating dark elves with dwarves or trolls as earth-bound tricksters and craftsmen, evident in the Brothers Grimm's collected tales like "Rumpelstiltskin," where such figures embody cunning and hidden malice.^[10] The Norse Dökkálfar provided a foundational influence for these regional variations, shaping perceptions of dark elves as shadowy counterparts to brighter supernatural kin.

Characteristics and Distinctions

Physical and Behavioral Traits

In Norse mythology, the dark elves (dökkálfar) are characterized by their subterranean habitat and a physical appearance markedly darker than that of their light elf (ljósálfar) counterparts, with skin described as blacker than pitch.^[11] The black elves (svartálfar), often equated with dwarves, are associated with Svartálfaheimr. This dark complexion symbolizes their association with the shadows and the underworld, embodying themes of hidden knowledge and the unknown in contrast to the luminous, benevolent ljósálfar.^[12] They exhibit a sturdy yet elusive build suited to underground life, though specific details like pointed ears or hair color are not elaborated in the primary texts.^[13] In modern fantasy literature, dark elves frequently retain this shadowy essence but evolve with more varied physical traits, including slender, agile builds, pointed ears, and skin tones ranging from obsidian black to pale ashen hues adapted to dim environments.^[14] Hair is often depicted as stark white or fiery red, enhancing their otherworldly allure, while enhanced night vision allows seamless navigation in perpetual darkness.^[14] These adaptations underscore their preference for subterranean realms like deep caverns.^[15] Behaviorally, dark elves across mythological and fantasy traditions are portrayed as secretive and isolationist, dwelling in tightly knit underground societies that prize stealth and cunning over open interaction.^[12] In Norse lore, they display a crafty ingenuity, particularly in metallurgy and enchantment, though their moral ambiguity can veer toward trickery or mischief toward humans.^[11] Fantasy depictions amplify this with malevolent tendencies, such as vengeful raids or manipulative magic, positioning them as embodiments of death and deception in opposition to the harmonious light elves.^[14]

Relation to Other Elf Types

In Norse mythology, dark elves (dökkálfar) are distinguished from light elves (ljósálfar) primarily by their habitats and appearances, with the dökkálfar residing underground and described as blacker than pitch, in contrast to the fairer ljósálfar who dwell in the realm of Álfheimr.^[16] This taxonomy appears in Snorri Sturluson's Prose Edda, where the two groups represent opposing aspects of elven nature, though interactions between them are not detailed in surviving texts. Svartálfar, or black elves, are often equated with the dökkálfar or viewed as a subset synonymous with dwarves (dvergar), due to shared subterranean lifestyles and craftsmanship roles, leading to scholarly interpretations that they may not constitute a fully distinct elven category.^[16] In modern fantasy, dark elves are typically portrayed as a subrace or cultural faction divergent from other elf types, such as high or wood elves, often due to exile, differing alignments, or adaptations to underground environments. These distinctions emphasize themes of isolation and conflict rather than strict biological separation. Scholarly and folkloric debates persist on whether dark elves represent a separate species or a moral and cultural variant.^[16] Recent developments, such as in the 2024 edition of Dungeons & Dragons, have revised traits like removing mechanical sunlight sensitivity for drow to mitigate stereotypes associated with inherent malevolence (as of 2024).^[17]

Depictions in Literature

J.R.R. Tolkien's Works

In J.R.R. Tolkien's legendarium, the concept of dark elves is introduced through the term Moriquendi, or "Elves of Darkness," referring to those Elves who did not complete the journey to Valinor and thus never beheld the light of the Two Trees of Valinor.^[18] This category encompasses the Avari, who outright refused the summons of the Valar; the Nandor, who abandoned the Great Journey midway; and the Sindar, who lingered in Beleriand after their leader became entranced.^[18] These groups are detailed in The Silmarillion (1977), where they are portrayed as remaining in Middle-earth, developing distinct cultures shaped by their separation from the divine light, rather than as inherently malevolent beings.^[19] A prominent example of the Moriquendi are the Sindar, known as the Grey Elves, who established the kingdom of Doriath in Beleriand under their king, Thingol (Elu). Thingol, one of the original ambassadors to Valinor, had glimpsed the Two Trees but chose to remain in Middle-earth after encountering the Maia Melian, thereby aligning with his people as their ruler despite his personal experience of the light.^[20] The Sindar interacted significantly with other races, notably forming alliances with the Dwarves of the Blue Mountains, who aided in carving the great caves of Menegroth and crafting treasures like the Nauglamír necklace, fostering a period of cultural exchange in Beleriand during the First Age. Tolkien's depiction emphasizes that the Moriquendi are not evil by nature but influenced by their historical choices, environmental isolation, and lack of exposure to Valinor's grace, leading to a more insular and sometimes wary existence.^[19] This contrasts with the Noldor, or Deep Elves, who are Calaquendi—those who saw the light—and exhibit greater adventurousness and involvement in the wars against Morgoth. Unlike subterranean or malicious dark elves in some Norse traditions, Tolkien's Moriquendi focus on themes of cultural divergence and resilience, avoiding stereotypes of innate wickedness and instead highlighting the consequences of free will among the Eldar.^[18] This nuanced approach in works like The Silmarillion laid foundational influence for elf portrayals in fantasy, prioritizing historical context over moral absolutes.^[21]

Post-Tolkien Fantasy Literature

In post-Tolkien fantasy literature, dark elves evolved from the more neutral or ambivalent Moriquendi of J.R.R. Tolkien's legendarium into frequently villainous, subterranean archetypes, often portrayed as scheming antagonists in pulp and epic fantasy novels of the 1980s and beyond.^[22] This shift emphasized their isolation in underground realms, moral corruption, and opposition to surface-dwelling elves, drawing on Norse svartálfar influences but amplifying evil traits for dramatic conflict.^[23] A seminal depiction appears in R.A. Salvatore's The Dark Elf Trilogy (1990–1991),^[24] set in the Forgotten Realms universe, where drow—dark-skinned elves with white hair—form a matriarchal society in the cavernous Underdark. These drow worship Lolth, the chaotic spider goddess who demands betrayal, intrigue, and sacrifice to maintain power hierarchies dominated by priestesses. The protagonist, Drizzt Do'Urden, emerges as a rare heroic outlier, rejecting his society's cruelty after witnessing its brutality and fleeing to the surface world, embodying internal conflict and exile.^[23] Salvatore's series, beginning with Homeland, popularized this archetype, influencing subsequent works by blending action-oriented narratives with explorations of drow redemption. Earlier examples include Elizabeth H. Boyer's The Sword and the Satchel (1980), the first in her World of the Alfar series, where dark elves serve as menacing minions alongside trolls and frost giants in a Norse-inspired realm, threatening the human hero's quest. In the 1990s, Elaine Cunningham's Starlight & Shadows trilogy (1995–1997) features dark elves in varied roles, from anti-heroes navigating political intrigue to outright villains entangled in divine schemes, expanding on drow-like societies beyond Salvatore's model.^[23] Common themes in 1980s–2000s novels portray dark elves' evil alignments as stemming from ancient curses, divine pacts like Lolth worship, or self-perpetuating underground isolation, contrasting with benevolent high elves. Redemption arcs, such as Drizzt's moral awakening and defection, highlight internal societal fractures, where individuals grapple with inherited malice amid quests for autonomy or alliance with surface races. These narratives often underscore themes of prejudice and cultural clash, with dark elves as foils to heroic ideals in expansive epic fantasies.^[23]

Representations in Games

Role-Playing Games

In role-playing games, dark elves, often termed drow in Dungeons & Dragons (D&D), represent a subterranean subrace of elves characterized by their cunning, cruelty, and affinity for shadow magic. They were first introduced in the Advanced Dungeons & Dragons (AD&D) Monster Manual (1977) as chaotic evil elves dwelling in the Underdark, with key traits including 120-foot infravision, the ability to cast spells as 1st- to 10th-level magic-users (males) or as cleric/magic-users (females), 50% magic resistance (increasing by 5% per level above 4th for some), and vulnerability to sunlight that imposes a cumulative -1 penalty to attack rolls per 2 turns of exposure along with halved Dexterity in bright light.^[25] This depiction expanded their role from mere monsters to integral antagonists in underground campaigns, emphasizing their isolation from surface elves due to ancient betrayals.^[26] D&D lore portrays drow society as a matriarchal hierarchy centered in sprawling Underdark city-states like Menzoberranzan, where noble houses engage in perpetual intrigue, betrayal, and ritualistic worship of Lolth, the chaotic spider goddess whose priestesses hold absolute power.^[27] Slavery underpins their economy, with captives from surface raids fueling gladiatorial arenas and labor, while select drow exhibit psionic talents for espionage and domination, reinforcing a culture of paranoia and ambition.^[28] The drow's portrayal drew partial inspiration from literary works, such as R.A. Salvatore's novels featuring the outcast drow ranger Drizzt Do'Urden. Drow became a playable race starting in AD&D's second edition (1989), with detailed rules in The Complete Book of Elves (1992), allowing players to explore their mechanics under restrictions like level limits and environmental vulnerabilities to maintain balance.^[29] In fifth edition D&D (2014), drow mechanics emphasize playability while preserving thematic tension, granting +2 Dexterity, +1 Charisma, superior darkvision (120 feet), and innate casting of dancing lights (cantrip), faerie fire (level 3), and darkness (level 5); sunlight sensitivity imposes disadvantage on attack rolls and Wisdom (Perception) checks relying on sight while in direct sunlight, a deliberate balance adjustment to offset their potent sensory and magical advantages without rendering them unviable on the surface. This trait was removed in the 2024 Player's Handbook revision.^[3]^[30] Subclasses like the arcane archer (from Xanathar's Guide to Everything, 2017) adapt elven traits for drow characters, enabling specialized builds focused on stealth and ranged precision, though later errata (2021) refined lore to diversify drow alignments beyond inherent evil. Beyond D&D, dark elves appear in other tabletop RPGs with distinct mechanics and lore. In Warhammer Fantasy Roleplay, Dark Elves (Druchii) hail from the icy realm of Naggaroth, depicted as sadistic raiders who launch slave-taking expeditions via massive Black Arks, their society a brutal meritocracy under Witch King Malekith and god Khaine, where players can portray them as agile warriors with high Initiative and Fellowship but marked by cruelty-driven flaws like sadism.^[31] In Shadowrun, elf metavariants evoke dark elf themes, such as Night Ones (nocturnal elves with dark fur, sunlight hypersensitivity, and enhanced low-light vision for shadowy operations) and Wakyambi (tall, dark-skinned African elves with slender builds and innate magical potential, often tied to shamanic traditions).^[32] These implementations highlight dark elves' adaptability across systems, prioritizing thematic depth in intrigue and combat over uniform stats.

Video Games

In video games, dark elves often appear as complex characters with rich cultural backstories, serving as playable races, antagonists, or integral world-building elements that draw from fantasy traditions. One of the earliest prominent depictions is in The Elder Scrolls III: Morrowind (2002), where the Dunmer—commonly known as Dark Elves—are portrayed as ash-gray-skinned natives of the volcanic island of Vvardenfell, deeply devoted to Daedra worship and excelling in destruction magic alongside spear combat.^[33] This representation emphasizes their resilience against fire and their tribal, honor-bound society amid harsh environments, making them a playable race with unique racial abilities that influence gameplay mechanics like spellcasting and stealth. Subsequent titles expanded on these archetypes, adapting elements from tabletop role-playing origins such as Dungeons & Dragons. In Baldur's Gate (1998), dark elves, or drow, appear as subterranean encounters inspired by D&D lore, often as cunning foes in underground realms like the Underdark, highlighting their affinity for shadows and intrigue.^[34] Similarly, World of Warcraft (2004) features night elves as allied dark-skinned variants with mystical, nocturnal traits, serving as playable characters skilled in nature magic and archery within the Alliance faction.^[35] Dragon Age: Origins (2009) incorporates Dalish elves with shadowy, nomadic aspects, portraying them as keepers of ancient lore who navigate moral ambiguities in a world hostile to their kind.^[36] Narrative roles for dark elves vary widely, from faction leaders to combatants. In The Elder Scrolls V: Skyrim (2011), Dunmer refugees include members of House Redoran, a warrior house emphasizing duty and tradition, represented through quests and dialogue in Windhelm that explore themes of exile and cultural preservation. Games like Divinity: Original Sin 2 (2017) feature elves with darker undertones, such as the assassin Sebille, who can act as a protagonist ally or boss-like adversary, delving into themes of oppression and revenge through source-based magic and tribal conflicts.^[37] From the 2000s to the 2020s, design trends in video games shifted toward deeper lore integration and player customization, particularly in MMORPGs. Titles like The Elder Scrolls Online (2014) allow players to create and customize Dunmer characters, emphasizing their dual affinity for magic and weaponry in expansive online worlds. A notable recent example is Baldur's Gate 3 (2023), which features drow as playable characters and key NPCs like the goblin leader Minthara, exploring nuanced alignments, Lolth worship, and Underdark adventures in a narrative-driven adaptation of D&D 5th edition rules.^[38] This evolution prioritizes immersive storytelling, where dark elves contribute to dynamic factions and personal narratives rather than simplistic villainy.

Cultural Impact and Variations

In Popular Media

In film adaptations of fantasy literature, dark elves are often portrayed with shadowy, isolated aesthetics that highlight their separation from lighter elf kindreds. In Peter Jackson's The Hobbit trilogy (2012-2014), Thranduil (played by Lee Pace) rules the woodland elves of Mirkwood, depicted in dim, foreboding halls with austere green-and-brown attire and a cool, distant demeanor that underscores their reclusive, Moriquendi-inspired nature.^[39] The 2016 film Warcraft, directed by Duncan Jones, features high elves with elegant, mystical designs, including flowing robes and arcane motifs.^[40] Television series have expanded dark elf representations through diverse casting and thematic depth. Amazon's The Lord of the Rings: The Rings of Power (2022–present) includes Moriquendi-like elves such as the Silvan warrior Arondir (Ismael Cruz Córdova), portrayed with dark skin tones to reflect Tolkien's broader elven diversity, amid backlash for challenging traditional pale depictions.^[41] In the animated Netflix series The Dragon Prince (2018–present), elf races exhibit varied skin tones, from pale Moonshadow assassins like Rayla to darker Sunfire elves like Janai, integrating primal magic and subterranean-like intrigue in Xadia's underbelly conflicts.^[42] Comics and animation further emphasize dark elves' villainous traits. Adaptations of Warhammer Fantasy, such as those in Black Library graphic novels, portray Druchii (dark elves) as sadistic raiders from Naggaroth, clad in spiked armor and leading slave raids with unyielding cruelty against human and high elf realms.^[31] Visual tropes for dark elves in live-action media frequently incorporate gothic elements, such as pale or ashen skin paired with white hair and piercing red eyes, symbolizing otherworldly menace; these designs evolved from the blocky CGI limitations of 1990s films to photorealistic renders in 2020s productions, enhancing thematic isolation and menace.^[43]

Modern Interpretations and Adaptations

In the 21st century, dark elves have seen a shift toward more positive and nuanced portrayals in fantasy media, moving away from monolithic depictions of inherent evil. For instance, in the Critical Role tabletop campaigns starting in 2015, the Kryn Dynasty drow are presented as a complex society guided by the Luxon deity, emphasizing themes of redemption, cultural depth, and inclusivity rather than villainy. This approach contrasts with earlier stereotypes and reflects broader efforts in role-playing games to diversify fantasy races.^[44] Scholarly analyses have increasingly applied postcolonial frameworks to dark elves, interpreting them as metaphors for marginalized groups subjected to othering and colonial narratives in fantasy literature. Critics argue that the association of dark skin with evil in drow depictions perpetuates racial stereotypes, equating darkness with moral corruption and reinforcing real-world biases against non-white peoples. For example, examinations of the drow in Dungeons & Dragons highlight how their charcoal-hued skin and underground exile symbolize exoticized "others," drawing parallels to historical colonial portrayals of indigenous or African populations as savage or subterranean threats. Such critiques, including those in Mythlore journal, call for reevaluating these tropes to avoid "negative estrangement," where fantasy races alienate readers through essentialized racial coding.^[14]^[45]^[46] Adaptations in digital media have further reimagined dark elves, particularly through webcomics that explore their societies from an internal perspective. The webcomic Drowtales: Moonless Age, launched in 2001 and ongoing, centers on drow clans navigating political intrigue, survival, and identity in an underground world, portraying them as multifaceted protagonists rather than antagonists. In fan fiction communities, dark elves are often recast as anti-heroes grappling with prejudice and moral ambiguity, as seen in numerous works on platforms like Archive of Our Own that subvert traditional villainy. Indie games and mods, such as those expanding dark elf civilizations in strategy titles, similarly allow players to build empathetic narratives around these characters.^[47] As of 2025, current trends in fantasy emphasize dark elves' integration into eco-fantasy narratives, positioning them as stewards of subterranean ecosystems amid climate-inspired themes of environmental guardianship, as discussed in analyses of fantasy worldbuilding linking race and environment. This evolution aligns with wider cultural reevaluations, promoting diverse representations that challenge stereotypes and foster inclusive worldbuilding.^[48]

References

[1]
https://www.gutenberg.org/files/18947/18947-h/18947-h.htm#link2HCH0017
[2]
The Diverse Nature of Elves in Norse Myth: Beings of Light or ...
Jun 30, 2017 · Elves in Norse literature are often described as beautiful, slim, tall creatures with pale skin and hair, and unknowable magical powers.
[3]
https://www.dndbeyond.com/sources/phb/races#Drow
[4]
Nidavellir/Svartalfheim - Norse Mythology for Smart People
The Prose Edda. Gylfaginning 33, Skáldskaparmál 37. Simek, Rudolf. 1993. Dictionary of Northern Mythology. Translated by Angela Hall. p.
[5]
The Creation of Thor's Hammer - Norse Mythology for Smart People
Loki immediately stung Brokkr's eyelid, and the blood blocked the dwarf's eye, preventing him from properly seeing his work. Sindri produced a hammer of ...Missing: Eitri | Show results with:Eitri
[6]
Alvíssmál - Voluspa.org
The poem in the 12th Poetic Edda in the Codex Regius, broken down into 5 stanza seqments so that the Old Norse can match the English translations.
[7]
[PDF] The Meanings of Elf and Elves in Medieval England - Alaric Hall's
This thesis investigates the character and role of non-Christian belief in medieval societies, and how we can reconstruct it using written sources.
[8]
Tuatha Dé Dannan, the Enchanting Predecessors of Irish Fairies ...
Mar 5, 2017 · Scientific and historical analyses of Irish folklore reveals their elves may be based on real beings - the Tuatha Dé Dannan.
[9]
Teutonic Mythology - Project Gutenberg
Jacob Grimm, whose name will always be men[Pg 11]tioned with honour as the great pathfinder in the field of Teutonic antiquities, was of the same opinion ...
[10]
Gylfaginning | Sacred Texts Archive
King Gylfi was a wise man and skilled in magic; he was much troubled that the Æsir-people were so cunning that all things went according to their will.
[11]
Elves & Dwarves in Norse Mythology - World History Encyclopedia
Mar 8, 2021 · The medieval Icelandic author Snorri Sturluson, who wrote The Prose Edda, states that they came out of the primordial giant Ymir's flesh like ...
[12]
Dark and Black Elves are Just Dwarves - by J.G. Harker
Apr 18, 2025 · There live the folk called light-elves, but dark-elves live down in the ground, and they are unlike them in appearance, and even more unlike ...
[13]
[PDF] Fantasy and Race in the Drow and Drizzt Do'Urden
Salvatore has written over 30 novels focusing on the dark elf, “drow,” character of Drizzt Do'Urden. In his. Page 3. writing, Salvatore demonstrates a ...
[14]
Elves In Mythology and Fantasy
Apr 2, 2012 · Some scholars have suggested that the dark elves were merely dwarves, but the fact that the dwarfs are stated separately as living in ...
[15]
[PDF] A New Look at Northern Influence on Tolkien's Elves
May 1, 2020 · There live the folk called light-elves [ljósálfar], but dark-elves. [dökkálfar] live down in the ground, and they are unlike them in ...
[16]
[PDF] THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS ...
Language distinguishes them into further subdivisions, such as the calaquendi and moriquendi ('dark elves', chiefly those who were unwilling to begin the ...
[17]
Moriquendi - Tolkien Gateway
Feb 22, 2025 · The Moriquendi (Q: "Elves of Darkness"; singular Moriquende) were all Elves who did not behold the Light of the Two Trees of Valinor.
[18]
The Encyclopedia of Arda - Moriquendi - Glyph Web
Called the Dark Elves, those of the Elves who never saw the light of the Two Trees of Valinor, including the Avari, the Nandor and the Sindar. The Sindarin king ...
[19]
Thingol - Tolkien Gateway
Aug 21, 2025 · On Melian's advice, Thingol became an ally of the Dwarves of Belegost, who carved the caverns of Menegroth for him. In payment he gave them, ...
[20]
[PDF] Where do Elves go to? Tolkien and a Fantasy Tradition
They were a race high and beautiful, the older Children of the world, and among them the Eldar were as kings, who now are gone: the People of the Great Journey, ...
[21]
What is the earliest instance of "Dark Elves" in modern Fantasy?
Jan 13, 2020 · In modern fantasy, the trope dates back at least as far as 1980, with Elizabeth Boyer's novelThe Sword and the Satchel, the first in her World ...
[22]
The Legacies and Dark Elves of R. A. Salvatore - Reactor
Feb 8, 2018 · Dark elves of the heroic, anti-heroic, and villainous varieties, like those in the Starlight and Shadows novels of Elaine Cunningham or the six ...
[23]
[PDF] Monster Manual (1977), First Edition - American Roads
Sep 27, 1977 · AN ALPHABETICAL COMPENDIUM OF ALL OF THE MONSTERS FOUND IN ADVANCED DUNGEONS & DRAGONS, INCLUDING ATTACKS, DAMAGE, SPECIAL ABILITIES, AND ...
[24]
Deep Dive - The Drow - Dump Stat Adventures
Mar 17, 2022 · The first mention of the Drow in the Monster Manual (1977) is an underwhelming one. A sub-creature of the elf, the Drow is referred to as ...
[25]
https://www.americanroads.us/DandD/ADnD_1e_Monster_Manual.pdf
[26]
Drow | Forgotten Realms Wiki - Fandom
A dark-skinned sub-race of elves that predominantly lived in the Underdark. [19] They were hated and feared due to their cruelty.List of drow houses · Half-drow · Drowcraft · Drow language
[27]
The Complete Book of Elves | Advanced Dungeons & Dragons 2nd ...
The book covers elf creation, variations, physical/mental attributes, society, myths, death, dwellings, optional rules, character creation, equipment, magic, ...Missing: 1989 | Show results with:1989
[28]
Dark Elves | Warhammer Wiki - Fandom
They roam and kill in darkness called up by their foul sorceries. They are so base as to specifically target children for their depredations.
[29]
Elves | Shadowrun Wiki - Fandom
Elves (lat. Homo sapiens nobilis) are a metatype of metahumanity. They are the third most common metatype after humans and orks.
[30]
Races of Tamriel — Dunmer (Dark Elf) - The Imperial Library
Also known as “Dunmer” in their homeland of Morrowind, dark elves are noted for their stealth and magic skills. They are naturally resistant to fire and can ...
[31]
Drow | Baldur's Gate Wiki - Fandom
Drow are a dark-skinned race of elf that live in the Underdark, an underground city. Most drow are evil aligned, with the exception of Drizzt Do'Urden and ...
[32]
Night Elf - World of Warcraft - Blizzard Entertainment
Read about the Night Elf race in World of Warcraft. Learn about their history, abilities, available classes and more.
[33]
On Dwarves, Elves and Qunari - BioWare Blog
Jan 25, 2011 · The Dalish elves consider themselves the last vestiges of the true elves, or “elvhen” in their own tongue. Desperately holding on to barely- ...
[34]
Elf | Divinity Original Sin 2 Wiki - FextraLife
Jan 9, 2025 · Elves are a playable Race in Divinity Original Sin 2. Elves are graceful yet fierce beings deeply connected to nature and memory.
[35]
Film Review: 'The Hobbit: The Desolation of Smaug' - Variety
Dec 6, 2013 · The sense of danger rarely flags as the company is rescued and imprisoned by the forces of Thranduil (Lee Pace), haughty king of the Wood-elves ...Missing: portrayal | Show results with:portrayal
[36]
All 10 Species & Creatures In Warcraft, Explained - Screen Rant
Jul 12, 2024 · ... Night Elves as the Alliance race and Blood Elves as the Horde counterpart. The High Elves depicted in the 2016 movie are settled in the ...
[37]
https://divinityoriginalsin2.wiki.fextralife.com/Elf
[38]
The Dragon Prince: Every Elf Race (& Their Differences) Explained
May 23, 2021 · There are six unique Elf races in Netflix's The Dragon Prince. Each of them inhabits their own corner of Xadia, the rich and vibrant mystical world.Sunfire Elves · Startouch Elves · Skywing Elves<|separator|>
[39]
Strange World: The truth behind the creatures
The idea for many of the movie's glowing creatures (such as the starlike ones above) came from bioluminescent animals that ...
[40]
Our Dark Elves Are Different - TV Tropes
sometimes orange, yellow, or purple. They mostly live aboveground, but are ...
[41]
Drow | Critical Role Wiki - Fandom
Guided by the Luxon, a group of scavenging drow led by House Kryn survived the ascent from deep within the Underdark to the then-abandoned dark city of Ghor ...
[42]
D&D Must Grapple With the Racism in Fantasy - WIRED
Jan 24, 2021 · Elves have otherworldly grace and enjoy poetry. Dark elves, known as Drow, have skin that “resembles charcoal” and are associated with the evil ...Missing: critiques | Show results with:critiques
[43]
"Negative Estrangement" by Steven Holmes
This essay introduces the concept of negative estrangement to help understand current cultural interventions into the norms of depicting fantasy races.
[44]
https://criticalrole.fandom.com/wiki/Drow
[45]
https://www.wired.com/story/dandd-must-grapple-with-the-racism-in-fantasy/