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have a wip!!

@baellaggio I admit I have been lazy after work all this week and only started on this today LOL but since it's exactly my cup of tea, I don't think it'll take long for me to finish. lmk how it looks so far. i stepped a lil tiny bit away from your ref since the art (her first son by michael malm if anyone is interested) is made by a man still living. it won't really be too radically different but i'll probably change up willas' arms a bit too. maybe make him holding his mama. lmk if you want any of this changed! figured i should stop here and ask before going forward, but i thought the wip was also pretty enough so far to share

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I LOVE THEM. Robert, failgirldad

“There had once been a girl more important than Lyanna Stark”

King Robert reunited with his oldest child, Mya Stone

sketched by: euronswife on twt

Colored in hair version and regular sketch because I wasn’t sure if people would be able to tell it was Mya. I know she has short hair in the series, but this is set a little bit before AGOT since Jon Arryn is still alive (so she could have cut it since), and my biggest interest in ASOIAF is historical influences so I tried to find a way that her hair is sort of short but still influenced by Tudor(ish) fashion in Europe. Her hair is to her shoulders, but because she’s hunching her shoulders in discomfort, her hair looks longer than it is.

The idea for this piece is that Jon Arryn has found out suspicious things about the legitimate Baratheon children that is leading him to believe they are not Robert’s biological children. He still wants to be subtle and not outright tell Robert until he has irrefutable proof, because someone is sure to feel Robert’s wrath and he doesn’t want it to be him. Bringing Edric to King’s Landing means letting Renly know about this (and Renly can’t keep his mouth shut) so he summons a known bastard of the King from his own realm, Mya Stone, to illustrate the differences between children of Baratheon blood and the children of Cersei Lannister. He dresses her in a stuffy yellow dress that she’s not used to, and puts jewels in her hair like Cersei likes to do with the other handmaidens. Mya is worried that the King won’t recognize her after so many years, she was a toddler the last time she’d seen him, after all. But as soon as she enters his chambers and he sets his eyes on her, he sends away his whores. He clasps Mya tightly at the tops of her arms. He seems as if he might cry, and Mya doesn’t know how to feel. She’s hurt from all the missed time, but she wants the King’s approval as well. And the fact he’s so emotional is a sort of emotional release of all the feelings that have been weighing heavy on her heart all her life. She still doesn’t know why he would have left her, why he stopped loving her, what she had done.

Mya and Robert one of my favorite tragic father and daughter, I can’t help it.

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LOVE THIS

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cersei’s fangirl phase (and her fanmade rhaegar doll she plays house with)

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"I rose too high, loved too hard, dared too much. I tried to grasp a star, overreached... and fell."

giving this tumblr thing a try

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I too am a filthy mod on there and I’m telling you to join

If you'd like to talk asoiaf with a bunch of dirty book purists, The Free City of Braavos, is a very chill (of course being a mod there, I may be biased) small asoiaf fan server that is currently open to new members. If you'd like to connect, here is an invite link!

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"Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me."

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Olrox!! Olrox no!!! The redemptive nature of love is NOT deontological!!! Your ethic of care has gotten twisted, bro!! It is not enough to do something out of love!!! Your expression of care cannot be successful if the object of that care is not receptive to it and the consequences it brings!! You're repeating the cycle of trauma that brought you here in the first place!! Olrox—!!!

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Nymeria of Ny Sar, future princess of Dorne leading her ten thousand ships 🌊

Loveeee her and I have to draw more Martell omgggg

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There's no need to be afraid my love

(i actually ended making this piece to pass the time before the season dropped AND SO i just had to make minimal adjustments I'm yelling)

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“and is that what you have planned for me?”

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This scene intrigued me a lot:

"I am afraid Olrox" ,HE IS AFRAID OF DEATH DESPITE HIM TELLING US THAT MONKS SHOULD NOT FEAR DEATHHH , and he tells Olrox. He wants comfort, wants A WAY OUT. He does not want to DIE. I feel this is a half permission for the 'DEED'.

On the other hand, Olrox listens intently, and it's attentive, he comforts him, secures him, mulls over THAT way of saving him, take times to.

Orlox comforts him phisically, and not only that, its a romantic gesture, affection, "It's gonna be fine", and the words MY LOVE the ultimate we AND THEM need to hear that, they indeed are connected more that phisically.

Mizrak is scared of what's to come, of turning of course, BUT DOEST NO REFUSE, is not TERRIFIED to push Olrox away, remember, half permission, half acceptance.

Resignation, after the pain of the bite, then crying for what's to come, even if hell go to hell, he's not alone.

And as an extra:

Putting the eroticism aside, Mizrak can no longer bask in that ray of light, he's rigid, unmoving possibly really angry. RIght after this he shows that he IS in a rage, then goes for the Olrox neck, and Olrox let's him , because HE IS THE FIRST drop of blood that he starvingly wants. In some works vampires, are drinking each other's blood and is seen as erotic and can be equalled with s3x, as they feel euphoria.

And in conclusion:

I'm crying my heart out right now, credit for this analysis to @b-l-u-e-equinox , she did an amazing job!

Thank you for reading

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“undermine her privately” fundamentally misunderstands how this political system works. there is no private for feudal royalty, and alicent’s humiliations of rhaenyra are politically calculated, even if they are also motivated by personal spite (“fear for her children” and “personal vindictiveness” are not actually mutually exclusive). their entire lives are political theater. forcing rhaenyra to bring baby joffrey to her after birth, for example, has political utility. it is a power play that demonstrates alicent’s upper hand, to show her power. she as queen can command the princess, the heir, and put her bleeding postpartum body on humiliating display when rhaenyra feels no choice but to obey. it makes rhaenyra feel off-balance and vulnerable and hunted, which is how you want your political opponent to be. it’s acted out in view of the court, and as the fact part of the incident (alicent’s jibe to laenor) made it into the historical record in fire & blood shows, everyone is watching. it is making alicent’s suspicions of the illegitimacy of rhaenyra’s children a matter of circulated conversation among potential supporters to undermine her. and it works! rhaenyra being forced to flee to dragonstone as a result of the hostile gossip alicent has helped engineer directly compromises her ability to take the throne! in a feudal system, sex and reproduction is public politics, and that’s the terrain alicent fights on, because misogyny is politically useful. “being outwardly niceys to the enemy in a fight where the stakes are death for the losers” is not really the rule of play here. what is she, a liberal?

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🥹🥹

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MIZRAK MY BELOVED

Sinner

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a new knight :)))

blue gouache wash and black India ink

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hiiiiiiiiii

I heard you're Edric x Arya fan, glad to meet my fellow nedrya friend <3

we are so deep in the trenches for content, I have forgotten what sunlight even is. salute, soldier