#like full on locked IN on this thing

[brainworms-all-night-long]

Ever since I saw Jinx in that silly little shark hoodie I knew I needed to draw Nine in an equally whimsical chomper fit

[vintrage]

fire cannot kill a dragon BITCH

[katabay]

THERE AIN'T NO ATLAS, KID. NEVER WAS.

if you peel him back far enough, there's nothing but a pile of theater masks

like, it's really fun how fontaine starts spiralling out the closer jack gets to him in the final arc of the game and returns to appropriating the image of family (the fake family in the beginning, the flawed father position later) to try and appeal to jack in some way but it's like. buddy. baby. you already took off your mask. anything you try and put on after this is going to come across as cheap and desperate. the magic is gone! and personally? I'm hooting and hollering

⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app / insta

[homeofwyrm]

1.) First time doing any comic style post here, so apologies if it's not very optimal lol

2.) Also mostly exploring what style i wanna do, so this is a little test. I forgor how hard this is

3.) Everyone was so nice on the band au poster here we are.

This is pre-band coming together (part 1)

[fidelishaereticus]

so, old news obvious news blah blah, but i keep seeing people not getting this about my girl gideon nav so have to say: i think at first blush, people get the impression that Harrow’s got all the convolutions and layers and hidden vulnerability whereas gideon wears her heart on her sleeve and is just brazenly herself (a loveable rowdy himbo) & that’s the contrast. and yes, that’s there, but that’s not all. that dynamic itself is a part of their mutual (codependent) front, and like everything else in this book, it gets peeled back. 

i think the real contrast is that they’ve both got masks, and those masks are complimentary. they’re both kids who never got a childhood. they grew up tortured in the same place from very different angles with no one but each other to butt heads against. they both had to play-act grown up versions of themselves with few models for what a well-adjusted adult even looked like. so it’s cartoonish. gideon is the plucky hero of her own adventure story that will totally have a happy ending some day, far far away from her nemesis whom she’s totally not in love with. harrow meanwhile (to grossly oversimplify) has to imagine herself as someone cruel and cold enough to cope with being alive at the price of 200 other people. these two things fit very well together. gideon can play the hero to harrow’s villain, and harrow can enact cruelty toward gideon to make herself feel strong and mean (and generally just to vent anguish). the way they hate one another is a kind of mutual protection - it re-enforces the self-image that each of them needs to get through the day. but that’s the coping mechanism. harrow the ruthless bones overlord. gideon the hapless swords idiot, who thinks of nothing but tiddies & sweet sweet vengence (harrow’s corpse in various states of disgrace ) all day. and behind that they’re both tearing apart at the seems beneath caricatures of themselves that are deeply unsustainable and neither of them feels safe letting on the extent to which that’s the case. their hearts are a goddamned mess. neither of them is wearing that shit on their sleeve.   so yeah, there’s a lot more to gideon than being a swords himbo but that’s not the wild thing. the wild thing is she’s so convincing that she somehow manages to sell people on her no braincells act while being the pov character of entire first novel.

- 

[katakaluptastrophy]

What do Captain Deuteros, the Princesses of Ida, the Baron of Tisis, the Lady of Koniortos Court, the Duchess of Rhodes, the Master Templar, and the Reverend Daughter all have in common? They almost certainly own slaves.

Ok, not "slaves". As I'm sure Housers would be the first to tell you, they do not have slaves. Gideon herself explicitly establishes this in chapter one:

I’m indentured, not a slave.

But functionally, what does that mean?

We don't get a definition of what Gideon means by a slave, or how this word is used in House (do the Houses also have slaves? Are slaves something other, uncivilised people have in the benighted darkness beyond the light of Dominicus and the empire?). Gideon is an unfree person who is subject to violence and exploited for the financial gain of her masters, but it means something to her that she is not, in some economic or legal sense, a slave. So what is an indentured servant?

Gideon's status is referred to using several other terms over the course of GTN, primarily by Silas Octakiseron. While Silas is not an unbiased commentator, it's interesting that his objection to Gideon is not just because she's Ninth, but because she has usurped her social position:

“Thrall,” said Silas. “Serf. Servant... Villein,” continued the necromancer of the house of the Eighth, warming to his thesaurus. Colum was staring at Gideon, almost cross-eyed with disbelief. “Foundling. I am not insulting you, I am naming you for what you are. The replacement for Ortus Nigenad, himself a poor representative of a foetid House of betrayers and mystics.”

We don't know the exact connotations of these words in House. But a "serf" historically was a sort of feudal peasant tied to the land of a manor. Unlike a slave, a serf usually couldn't be bought or sold as an individual, but could be transferred wholesale with the land. Generically speaking, serfdom involves a tie to the land, an obligation to generate income/goods for the feudal lord of the land through labour and/or rents, and a lack of freedom of movement. It could be from birth or a voluntary indenture.

The contextual information that we get about Gideon's status backs up this very feudal image:

Gideon is, as Crux repeatedly reminds her, in some way the property of the Ninth. She wears a security cuff, and her attempt to run away is described as theft and misuse of House goods. In a typically House way, it is not just that she owes them her labour - she owes them her body once she dies. (What's interesting is that this part isn't specifically tied to her status as an indentured servant, but it fundamentally colours how it is understood in world.)

"You talk so loudly for chattle, Nav... You chatter so much for a debt. I hate you, and yet you are my wares and inventory."

Crux is Harrow's seneschal. And it would seem that at least on the Ninth, this role is very much the same as its medieval feudal equivalent: the official in charge of the management of the estate's goods and labourers.

Gideon is a legitimate subject of violence in House law: Harrow talks about how it would be "master's sin" if she "employed unwarranted violence" against her. Which means that some degree of violent punishment of indentured servants is legally permissable.

She is meant to be a financially useful asset: regulations exist governing indentured people joining the military, where they can generate revenue for their House. However, Harrow warns Gideon that "the Cohort won’t enlist an unreleased serf" - because the movement of a serf is at the discretion of her Lady, not something over which she has free choice.

The description of how Gideon came to be of the Ninth is particularly interesting in shedding some light on the institution of indenture in the Houses:

The Ninth had historically filled its halls with penitents from other houses, mystics and pilgrims who found the call of this dreary order more attractive than their own birthrights. In the antiquated rules of those supplicants who moved between the eight great households, she was taken as a very small bondswoman, not of the Ninth but beholden to it: What greater debt could be accrued than that of being brought up?

Medieval serfs too had no freedom of movement; they required a license from their lord to spend extended time away from the manor.

It's easy to forget, when the Houses themselves likely range in scale from the size of Los Angeles to Aotearoa New Zealand, that legally they seem to understand themselves to constitute feudal households. Those born in each House are part of - or in some cases it would seem, property of - the House. We see discussion in the Sermon on Necromancers and Cavaliers of the heirs of cavalier lines being traded between Houses for political capital. Necromancers, meanwhile, are apparently such a political or reproductive asset that they are usually not allowed to marry outside their House. Obviously, these are examples of people at the top of House society, whose movement brings with it political power, or financial assets, or reproductive capacity. Where does that leave a more ordinary person who lacks those desirable assets? It would seem that they can be their own asset, granted access to another House on a debtor's bond - it's not clear in the House context whether this is typically an exchange of people already debt bonded to their House, free people entering into such bondage to secure a right of passage to another House, a combination, or something else entirely.

But it speaks to a much more ancient understanding of how people are tied to lands and lords, alongside the Houses' very different attitude to the value of human lives:

“You’re no slave, but you’ll serve the House of the Ninth until the day you die and then thereafter"

One could infer, since we've encountered nobles and serfs, that the Houses have something akin to a three-tier system like many historical European feudal systems, with nobles, freedmen, and serfs.

The medieval European feudal system was primarily a function of the management of land - serfs and freedmen's statuses were a result of their relationship to obligations to the land - requirements of work, or rents to their lord, who ultimately controlled and profited from that land. This is where the tricky difference between serfdom and slavery tends to arise.

But the Houses are not a European medieval feudal kingdom. They are not, presumably, a primarily agrarian economy. So what use might such bondspeople be? What does that society look like, outside of its highest nobles investigating each others' murders and its strangely incestuous demigods?

There must be some agriculture and industry. Given the trying conditions of living in inhospitable space environments, that there might be some class of labourers fundamentally tied to their Houses, perhaps initially stemming from the order or situation of their ancestors' resurrection, isn't impossible to imagine (after all, ruling families and cavalier lines also trace their status from the Resurrection). From the information about the rules governing movement between Houses, perhaps there are also people living in dire conditions on remote moons willing to sell their freedom for a chance at slightly better conditions, or a new start in a different House. Most Houses do not have the necromantic capacity to create skeleton constructs on a scale to manage most of their labour - in The Mysterious Study of Dr Sex, it's clear that the Sixth has a finite supply of skeleton constructs that they would require Ninth input to overhaul. We have to assume most labour on most Houses in human, and some portion of it at least in some way unfree.

But the Houses are a spacefaring society with a large, centralised military and an economically complex empire. It does not function entirely like a medieval kingdom, however much it may sometimes look like one. Much of its imperial structure seems to be on a much more 19th or 20th century model.

And the Cohort is one area where we can see some non-medieval, but awful implications to the Houses' practice of serfdom. Consider the commission that Harrow offers Gideon:

It purchased Gideon Nav’s commission to second lieutenant, not privy to resale, but relinquishing capital if she honourably retired. It would grant her full officer training. The usual huge percentage of prizes and territory would be tithed to her House if they were won, but her inflated Ninth serfdom would be paid for in five years on good conditions, rather than thirty.

Gideon is not being promised as canon fodder - this is a promise of officer training. And yet, Gideon is a serf - and that officer training would be an investment in financial returns from her involvement in the bloody machinery of empire.

How many people in the Cohort are not free? Are serfs released from their usual obligations in the House to which they are debt bonded to instead generate income for their House on the battlefield or die trying? What proportion of the Cohort are functionality enslaved children, sold a dream of glory by smutty comics and released by their Houses because their eventual deaths will be more profitable to their Houses than their labouring lives?

And fundamentally, if the Houses are in some way substantially reproducing aspects of medieval feudalism, there's only one person who can be responsible for that...

[gideonysis]

whoops sorry tamsyn muir

[vanweezer]

sketchbook dump

[valkyurii]

useless piece of information: malenia always follows up with a grab after she breaks your guard with a kick. it is possible to roll out the way as your stamina regens fast enough on it's own, but i still thought it was pretty cool that she can do this

[yuurionviktor]

Wanted to see if there’s consistency in the way I draw them

[sweaters-and-vertigo]

i have a teeny, tiny superiority complex because i didn’t watch the atla live action.

[vaguely-concerned]

just going about my day idly contemplating how some of the ways hawke can interact with a romanced anders are not at all unlike how they interact with leandra (and a bit of carver too, especially with a purple hawke), and then thought about my hawke in the timeline where he romances anders and was hit straight in the face with 'was he ever actually in love, or was he just desperately trying to renegotiate with his mother's ghost in any way he could' and now i need to lie down. this is the power of dragon age 2

[petricorah]

humble offer of an au instead of (a continuation of) divorced zukka

Zuko fakes his death:

Someone's been trying to assassinate him. It's long after Sokka leaves, and they aren't together. Maybe they had something once, and Sokka always thought they'd end up together, but they aren't together. And he hears word of the fire lord's death all the way back in the water tribe. How there was nothing the Kyoshi Warriors or the palace guard could do, and he was killed.

There are no remains.

He goes to the funeral, and it's this big dramatic ordeal (because they're trying to really hammer in that he's "dead") and Sokka's a mess. A complete and utter mess. He can barely function, and he's angry, especially at Suki, because he doesn't understand how she isn't more upset (she knows Zuko's still alive. She tries to talk to him, but he pushes her away, and they're never able to talk in a private place.) But more than that, he's angry with himself. Because if he hadn't left, he could have saved him. He could have been there. He thought they had a future together, that they couldn't be together now, but someday they would, and that all goes up in smoke.

And then Zuko's alive. They were able to apprehend the mastermind with the guise, and Sokka should be happy, but all he feels is emotions he can't understand. He feels betrayed.

"You were in the water tribe," Zuko said. "I couldn't tell you--"

"You died. You were dead. I-I went to your funeral, I mourned you."

And he wants to be angry, he wants to hit him, to make him feel a fraction of the pain he felt, but he can't hurt him, not ever, and the only thing he can do is crumble at his feet because Zuko is alive.

[didnt-hear-idsb-live-again]

.

[syn4k]

YOU'RE GONNA HAVE TO FORGIVE ME FOR WHAT I AM, IT'S MY FIRST TIME BEING ALIVE AND I DON'T KNOW WHAT I'M DOING

heres the version without all the effects. it looks like a homestuck character.

im gonna be honest i have no fucking idea what im doing here or what the hell i even wanted to convey but the shapes are good and it fucks so i ran with it

[wardensantoineandevka]

obviously, I'm biased, but I do feel like choosing the griffons remain with the Wardens doesn't violate / negate / set back the idea of becoming something other than what you've grown to be and it doesn't lock the griffons into being only what they are, y'know, because like Evka and Antoine also talk about the Order itself changing, especially in the face of the last Archdemons, and there is a chance for them to be something other than what they are now, to imagine futures or different purposes in time even if they still meet it as bulwarks or defenders

I feel like the end to Something's Coming suggests that even remaining with the Wardens offers a future to be something else, and Something's Coming is thematically resonant with A Friend In Need. So, it's less choosing whether a griffon can be something else or will always be what they were made to be, but whether they're discovering that "something else" with the Wardens, who are also discovering that for themselves individually and as a group, or in Arlathan, which is also changing.