October 2023

● ⬀ ⬈

lishenkaaa:

hey what if the reason augustine and mercy have such conflicting feelings about each other is bc they rlly do hate each other but now they’re also alfred and cristabel, who rlly did love each other. have we considered this.

● ⬀ ⬈

anaeolist:

the hallucination of edward cullen that harrow keeps around at all times: 

● ⬈

scalierpepper:

An excerpt from the book Nona the Ninth by Tamsyn Muir, digitally illustrated as a series of comic pages. In this page, Camilla Hect and Palamedes Sextus stand back to back, holding hands. They each have a watch on their wrist. The background is a gradient from black to midnight blue. A speech bubble, above them, reads "I've loved you two." Five speech bubbles on either side of them say "Not well. Not even wholesomely. But I've loved you. You've been my agents...stand-ins for something I haven't had for longer than either of you can understand. Which is why I'm saying - don't do this. Please, don't do this."ALT
The background is a gradient from midnight blue to black. At the top of the page, two speech bubbles read "Understand that once you do this, you can't take it back. It's not love, what you're about to do. It's not beautiful and it's not powerful. It's a mistake." Underneath the speech bubbles, a puddle of water expands to the bottom of the page. Pre-lyctoral Pyrrha Dve and Gideon the First are reflected in the puddle, upside down, from their shoulders up. Behind them, also reflected in the puddle, is a starry sky. Over the top of the puddle, below the reflection of the characters, white text reads "we didn't even do it right...we were children - playing with the reflections of stars in a pool of water...". At the very bottom of the page, white text reads "...thinking it was space".ALT
Four panels: The background of the panels are a medium purple color. In the first, cropped to only show their hands, Palamedes (in the body of Naberius Tern), holds Pyrrha's wrist. Palamedes says "Whatever you think we're doing, we're not." The second panel is a shot of Pyrrha from the chest up. She looks tired and has subtle stubble on her chin and grazes up her arms, neck, and jaw. She says, "Whatever you think you're doing, you shouldn't". The third panel is a shot from above. On the left, Palamedes stands, wearing a white jacket with gold trim and and white pants. Pyrrha stands in the middle, wearing a white shirt and khaki cargo pants. On the right, Camilla is sitting in a wheelchair wearing grey pants and a grey jacket. She has a bandage around her midsection. They are lit from behind by a spotlight on the ground. Camilla says "Just watch us". The fourth panel is the same view as the first panel, except Pyrrha pulls her wrist out of Palamedes's grasp.ALT
Seven panels: The backgrounds of the panels vary from medium purple to dark, desaturated purple. The first panel is a view from the side, from the shoulders up, of Pyrrha and Camilla. Camilla is sitting in the wheelchair and Pyrrha is crouched to her level. They look at each other, and Pyrrha has her hand gently under Camilla's chin. The second panel is cropped to show only their eyes. Pyrrha and Camilla look at each other intently. They have bright highlights in their eyes. The third panel is the same view as panel one, and Pyrrha kisses Camilla's forehead. The fourth panel is slightly zoomed in, and Pyrrha kisses Camilla's mouth. In the fifth panel, Pyrrha and Palamedes are both standing in front of Camilla. It is cropped to be Cam's eye level, so you only see their waists. Camilla smiles subtly and says, "Could you try not to be such a chicken hawk, Pyrrha?". The sixth panel is of Pyrrha and Palamedes from the waist up. Pyrrha ruffles Pal's hair and he leans slighty forward, looking at Pyrrha to the side of him. The both have small, bittersweet smiles. In the seventh panel, Pyrrha turns to kiss Palamedes on the side of his mouth. Palamedes has his eyes closed and is smiling. He says, "You are an appalling old roué, Dve."ALT
Two panels: the first is in the top left, over the top of the second panel, which fills the entire page. The first panel is a close view of Pyrrha's face. She says "Call me if you need me". She looks sadly to the side, with her hand on her neck. The background of this panel is a saturated purple. The second panel is drawn as if you were looking out of the back of a truck. On the left of the page, in the background of the drawing, Palamedes stands next to Camilla, resting his hand on her shoulder. They are watching Pyrrha walk away. In the middle of the page, Pyrrha walks towards the truck, facing the viewer, but turning her head to look over her shoulder. She is in shadow and has a sorrowful facial expression. She says "Otherwise, see you around." On the right of the page, in the foreground of the drawing, Nona is sitting in the truck with her back to the viewer, leaning against the side of the truck. A few obscure, undetailed figures stand on either side of the main characters, not paying attention to them. All the characters are lit from behind by a spotlight on the ground.ALT

“Pyrrha crossed over to the truck, to Nona, and leant heavily into the interior; Nona could see that she was sweating, in exactly the same way she had sweated after the bottle of bleach. She mumbled ‘You knew this was happening. You knew this was happening months ago,’ and when Nona put her hand on Pyrrha’s, it was like Pyrrha hadn’t even noticed her.”

● ⬈

lastflowerofyourhouse:

ok but the fact that harrow’s redemption arc is also gideon’s corruption arc. the fact that they come out of the pool scene nodding in agreement despite having come to two wildly different conclusions. the fact that their one moment of real open honest communication still somehow ends in a horrible irreconcilable disconnect.

like. harrow wants gideon to start walking beside her at the same time as gideon masters walking a half-step behind. harrow wants to share the bed the one night gideon sleeps on the cavalier cot harrow comes to fully understand and accept that treating gideon as a subordinate was wrong and unfair, at the same time as gideon stops thinking of herself as harrow’s rightful equal.

it’s fucked up it’s horrible and harrow is too caught up in all her feelings to see it until it’s too late and gideon has still just barely begun to figure it out.

i. i just. she could have lived for her but she didn’t know how.

because to do that, to acknowledge that that was even an option, she would have to view herself as being as worthy of life as harrow. and she didn’t. she didn’t and she couldn’t. it didn’t even occur to her. she could have lived for her but she didn’t know how.

● ⬀ ⬈

midnightcrows:

The Saint of Joy and the Saint of Patience

Based on the Leyendecker painting of course

● ⬀ ⬈

circusbutch:

Harrow the first, Saint of emisis

Quick and messy Harrow art I had to get out of my system

● ⬀ ⬈

kallistoi:

rosenkranz-does-things:

this is how that conversation went, right?

[image description: a digital illustration of characters from the locked tomb trilogy, standing against a dark reddish background. ianthe is on the left with her arms wrapped across her chest, looking with disgust over her shoulder at gideon-in-harrow standing next to her. gideon’s pointing up at ianthe confrontationally and saying, “you’re in her dm’s, i died for her. we are not the same.”]

● ⬀ ⬈

thechekhov:

A digital manga-style comic. Top reads 'growing up on the Ninth' A silhouette of a child comes running from afar towards a tired-looking woman with a buzz cut, wearing simple Ninth House facepaint. She wipes her cheek and glances over as the child screams "AI-GEMMY-KNEE! AI-GEMMY-KNEE!" Gideon Nav rushes to her, grabbing her pant leg. She looks to be about seven years old, and her front tooth is prominently missing. "Ith 'appenedh!" she yells. "Zhe 'ooth fairy 'took my 'ooth!" Aiglemene quirks an eyebrow, looking down at her. "What are you on about, child? What tooth fairy?" she demands. Gideon pulls something out of her pocket, presenting it up to the adult proudly. "Thee 'ook my 'ooth justh 'ike 'arrow thaid! And I go'th thome rockth in re'urn!" Aiglamene does not bother to look amused. "...That's not a--" she begins, before cutting herself off, and looking off in another direction thoughtfully. Her gaze strays to the raised balconies of Castle Drearburgh. Hiding between two of the banisters is a barely visible skull-faced little figure robed in black. ALT
Aiglamene regards it for a minute, and the scene fades. The panels lapse, as though a bit of time has passed. The next panel shows a fair of booted feet at the entry of a door. The inside is shadowed, with only the light from the inside illuminating a small figure crouched on the floor. "My lady," Aiglamene greets. Then, "Stealing milk teeth is not becoming of the scion of the ninth." Harrowhark turns around to look at her over her shoulder. She is sitting on her knees on the floor, an array of small bones in a semicircle before her, and something else clutched tightly in one tiny fist. She looks to be about six - her hair is cropped short, and she has her cloak shrugged off her shoulders and hanging from her elbows. Her dark eyes are large as ever. "I did not steal them, Captain," she replies. "I bargained for their purchase through a metaphor. I am low on resources," she continues. "And mother says we must use all available materials wisely." Aiglamene considers for a moment, looking a bit down. "The Reverend Mother and Reverend Father do not want you near Gideon, you know that," she says. Harrow looks away again. "I am working with those parameters in mind," she says calmly. Aiglamene says nothing, looking a bit dampened, and then heaves a tired sigh. ALT
Seemingly defeated, Aiglamene looks down at Harrow again. "What are you planning to use them for, if I may ask?" she inquires. Harrow looks up at her, having not relaxed her fist once. "It is... classified," she says. A black bar cuts between this and the next panel. It reads: "Not That Much Later." Next thing we see is a hallway near the castle. Harrow is hiding behind an archway, her little face split into a grin of delight as she peers around it to look at her handiwork. "Stop hitting yourself, Griddle!" she jeers. "Stop hitting yourself!" In the forefront, Gideon wrestles with a skeleton approximately her own size. It has a knee up on her stomach, and is rearing back for a punch, while Gideon kicks her feet and tries to shove it off, her face twisted up in fury. "HRRAARGH!" she hollers. "NONAGETHIMUUUTHHH!!" ALT

ah, childhood.

● ⬀ ⬈

anaeolist:

yeah

● ⬈

celira:

day 13

“Camilla?”

“Mm?”

“Why can’t you understand what the neighbors are saying?”

“I don’t speak their language.”

Keep reading

● ⬀ ⬈

notedchampagne:

step 1: build a bridge

● ⬀ ⬈

corvophobia:

writing my own alecto the ninth at this point

● ⬀ ⬈

rosenkranz-does-things:

a digital painting of Camilla and Palamedes from the locked tomb series. they're standing in a dimly lit corridor, Cam holding a dagger and Pal opening a door with a keyALT

txf study but make it campal

● ⬀ ⬈

:

anaeolist:

canaan house but make it masterchef

[Image description: Drawings of Palamedes and Harrow from The Locked Tomb that look like they are being privately interviewed on a reality show. Palamedes’s header says, “Palamedes Sextus, 20. Canaan House contestant.” He smiles and says, “Oh, Harrow? She’s my best friend and lifelong partner in necromantic research! Sometimes we solve murder mysteries together ❤️.” Harrow’s header says, “Harrowhark Nonagesimus, 17. Canaan House contestant.” She scowls and crosses her arms. She says, “Palamedes Sextus? Dangerous in the extreme. Possibly a murderer. Possibly a mass murderer. My investigations are underway.” End description]