#longriver

[crownedinmarigolds]

A sketch of @the-art-block's Merrill Longriver! I love their Moonrise Nation and wish I could draw every one of their awesome characters!

[loksthegreat]

» In her youth princess Alysanne had been close to her mother, and while she remained a permanent fixture at her fathers side all throughout her teenage and early adult life and was known to be his sole favorite among lord Ottos many sons and daughters, she without a doubt was the daughter most alike to Queen Visenya. Alysanne had been born twelve years to late to be considered as a bride for her eldest brother Maegor, and while she was close to her brother Aerion both in age and mind, the two shared no great love as found between some of their siblings. Maesters believe that Queen Visenya had sought a powerful marriage alliance for her headstrong daughter early on, for if her daughter could not be queen after her she should at least be a great lady. The queen was no stranger to violence, both in war and marriage, she had encouraged Alysanne to claim the small red she-dragon called Evening as her own and taught her how to wield a sword herself, so she may defend herself, whether it be in the brooding conflict between Visenya and her half brother Aegon or against a unkind spouse. It was the knowledge of the princesses affiliation with unladylike activities and her lack of old Valyria’s beauty that made her a harder prize to sell than one would expect for a Targaryen princess. It was in the year 129 after the conquest, that the then princess Visenya and her fourteen year old daughter made for a tour through the Riverlands on dragonback. On the tenth day the two princesses arrived at Riverrun, to the great demise of old lord Grover, whom had been fearsome of the Targaryens possibly taking action against his rule to place his younger brothers children with princess Daenera, a daughter of the old king, in a position of power. It is unbeknown just what was discussed throughout the five day stay of the princesses, as the current Maester at the castle was terribly young and unorganized, but the fool of Riverrun known as the lord of fish or Fishlord, published a play that supposedly depicted the events that led to the engagement of princess Alysanne Targaryen and young sir Kermit Tully, the great grandson of Lord Grover Tully, within the same year before the fool was found to have been thrown into the water surrounding Riverrun with his throat sliced one morning, a spectacle that only let to popularize the tale he paints between Lord Tully and princess Visenya. Fishlord claimed that the rumors surrounding sir Kermit’s fancy for his fellow knights were true and that the princess had come to see her daughter wed to him with the promise that she would see the Tully line continued and keep her husbands interests under wraps, while also bringing her great aunts bloodline into inheritance again, when Lord Grover had asked how she intended to do so princess Visenya supposedly said: “You’ll need a girl who can keep her mouth and legs shut as loneliness tears at her heart, a girl that will not be lulled into bed by the comfort a handsome singer or knight has to offer, my daughter is such a girl. She will be Lady of Riverrun and she will give birth to strong and healthy sons, with red hair and blue eyes and there will be no question as to their true parentage. My aunts sons are young and strong yet, one of them will surely manage to sire a boy on her, and if not your grandson may have a try at it, seven hells, if it so be, you may try to fuck a babe into her yourself, for as long as you still can.”. And while it is highly unlikely that these were the actual words used by the future queen, Alysanne was betrothed to sir Kermit and married him shortly after the end of the dance in 132 AC and gave birth to five sons by him, red headed and rosy cheeked and without a hint of the brown hair her companion and later second husband, sir Rohan Longrivers, sported. « Daughters of the She-Dragon by Maester Riven

[respectablebaggins]

madness | open rp

“Oh. Hello! I’ve just finished the tea… Just in time… Come in, come in…”

Bilbo rose from the stone bed in his dark damp dungeon cell far under the mountain. He smiled, having heard the squeak of the barred cell door open. He reached for the person, escorting them in, looking at them without truly seeing them. He offered the end of his stone bed to them.

“That’s my best chair now. I’ve just had it reupholstered. You know,” Bilbo spoke as if sharing a secret, “Everyone thought Olo Longriver was mad for letting his boy leave his fishing business, but Odu really knows his way around a nail and pillow. Best work I’ve seen in a long time. Oh, the tea.”

Bilbo fussed with the space between them as if there was a tea set there. He picked up an imaginary tea pot, pouring them imaginary tea. His smile remained because of the company but faltered considerably in moment, picking up the imaginary tea and saucer, handing it over to the other. For a moment, it looked as if Bilbo saw clearly. He swallowed hard, then smiled pleasantly again, giving his guest a bit of a chiding look, his voice thick and cracked slightly.

“I was beginning to think you weren’t coming.” His smile returned. He had been under the mountain in his little cell for weeks now and it was beginning to show. He was thinner, noticeably. His blue coat from Laketown swamped him, the bruises and cuts he had received from Thorin dragging him and pushing him down stairs in his anger, discovering early on that Bilbo had kept the Arkenstone from him, had mostly healed. A blood vessel had burst in his right eye, staining a corner of it red. Had he not looked so sickly pale, the bruises might have healed quicker. A cut on his right cheek was particularly deep and had not yet scabbed over. He would gain a scar if it wasn’t taken care of before it did. The scrapes on his knuckles were healed from fighting off the spiders in the forest were gone, but not having a proper bath since before reaching Erebor left dirt and blood all over him still. He had stopped trying with what little water was given to him.

Hobbits were not meant to be away from the sunlight and fresh air for so long. And being so solitary was not in their nature either. It was more than a sickness; Bilbo was clearly venturing into madness.

[relykanus]

Historia:

Hijo de Regina Longriver y Harold Lovecraft. Dos nobles del North Blue, quien le dieron todo lo que necesiataba para crecer sano y feliz. Su vida fue feliz hasta un cierto punto donde todo se fue al demonio. Historia cliché en proceso...

Así fueron las cosas. Mi vida era un cliché de las familias perfectas, hasta que un día mi mente  se vio golpeada por la realidad en la que se vivía. 

A la edad de 20 años comencé a sentir voces en mi cabeza, las cuales fueron cálidas al principio pero a medida que pasaba el tiempo, estas comenzaron a empeorar y a torturarme día y noche. Las mismas me pedían que hiciera algo por ellas, pero cada vez que me negaba volvían con más insistencia y racionalidad se veía cada día mas comprometida. Afortunadamente, durante el día tenia muchas cosas que hacer y aquellas voces de extinguían cuando trabaja en aquel laboratorio de aquella gran universidad del North Blue.

Mientras creaba ... algo, las mismas no existían, pero tras terminar dicho trabajo las mismas volvían y seguían pidiendo cosa tras cosas. Algunas inocentes y otras completamente macabras.

No fue hasta dos días después de mi graduación, a la edad de 25 años, que les comenté esto a unos amigos y los mismos asustados por lo que les contaba, hicieron que me encerraran en un psiquiátrico junto con la autorización mis padres.

Pero no los odiaba, gracias a ellos pude descubrir mi verdadero yo y lo que realmente quería, y no era otra cosa más que poder.

Tras un largo tratamiento de más de 10 años, al fin me habían dado el alta. Desafortunadamente tenía que seguir tomando medicamentos, pero eso era lo de menos.

Solo me necesité 5 años para terminar mis ideas y tras asesinar a mis padres, desaparecí por más de 10 años oculto en un laboratorio privado que yo mismo había construido en durante aquellos 5 años. Después de 5 años, hoy era el día en que volvería a ver la luz del día.

[telectr0scope]

Wren encounters one of the Strangerville inhabitants.

[dustedmagazine]

Dust Volume Five, Number 10

The Hammered Hulls

Time again for a load of short, mostly positive reviews of records that caught our attention at least for a little while. This edition is typically wide ranging with free jazz, teen garage pop, piano experiments, acoustic guitar picking and goth-y post punk all jockeying for your ear. It’s not just obscurities this time around either, as Ian Mathers looks for the solid core of the National’s over-long latest, while Jen Kelly makes peace with the Futureheads. Participants besides these two include Bill Meyer, Andrew Forell, Nate Knaebel and Justin Cober-Lake.

CP Unit—Riding Photon Time (Eleatic Records)

Riding Photon Time by CP Unit

CP Unit, an evolving ensemble formed around saxophonist Chris Pitsiokis, exhilarates live, the sound anchored by antic, twitching, faster-than-advisable-but-nailed-anyway bass, complicated patterns of percussion and abstract slashes of guitar. Live, the music is colored rather than dominated, by the urgent, chaotic energy of the proprietor on horn. A late summer set at the Root Cellar in Greenfield, MA left me gasping. Riding Photon Time captures the same band I saw—Pitsiokis, Sam Lisabeth on guitar, Henry Fraser on bass and Jason Nazary on drums (which is different from the line-up Derek Taylor reviewed here )— in two fiery 2018 live settings. The first half of the disc was recorded at the Moers Festival in Germany in May, the second at the Unlimited Music Festival in November. “Once Upon a Time Called Now,” from the earlier set, captures the spare, rippling tension between Pitsiokis’ free-ranging inquiries and Nazary’s intricate but grounded rhythms; they duel for a couple of minutes before the rest of the band enters. The cut also foregrounds Fraser’s restless, rampaging bass work, carving a headlong through line in the squall and storm. “Seasick,” from the November show, gives space to Lisabeth’s guitar, lyrical in a tilted, offkilter way, the tones bouncing off Pitsiokis’ sax melody in loose conjunction and counterpoint. My only complaint is that the mix favors melody, zooming in on the sax and obscuring, somewhat, the fascinating interplay between drum and bass. In most bands, that’d be fine, but in this case, the rhythm is just too good to hide. 

Jennifer Kelly

 Eluvium — Pianoworks (Temporary Residence Ltd)

Matthew Cooper has done enough things under his Eluvium moniker that even those only mildly acquainted with his work might not be surprised that he’s put out an album of solo piano compositions; they might, however, be surprised to find out that Pianoworks is the second such Eluvium album, after 2004’s An Accidental Memory in Case of Death. That record, coming after the striking (and often noisy) debut effort Lambent Material served to establish that Cooper wasn’t going to be restrained by genre, form or instrument. Here, having accomplished an awful lot over the past 15+ years it’s fitting that Cooper appears to be in a more contemplative, even melancholy mood. Whether it’s the gently rippling “Underwater Dream” or the brightly rounded runs of “Carrier 32”, Pianoworks serves as a reminder that Cooper can stop you in your tracks with the simplest of setups, if he chooses. (And for those really a fan of his piano work, the deluxe version features an extra disc of new versions of practically all the previous Eluvium piano pieces as well.)  

Ian Mathers  

 Frieda’s Roses — Jessica Triangle (Mika)

The three women of Frieda’s Roses—that’s Greta Fannin, Ava Miller and Poppy Lang—aren’t even in high school yet; their ages range from 13 to 15. And yet, this debut album, Jessica Triangle, is a marvel of minor key garage pop, raucous and wistful at the same time. Its bristly onslaught of guitars guards a tender center. You also realize, about halfway through the album, that teen girl pop has changed since the last time you looked, and the subject matter here is rather empowered. In a very strong middle section, “Isadora Giving” chides a girl for being too accommodative (“She’s kind in the way of giving things away”), while the stand-out “Lucy Poe” celebrates the complexity and intelligence of a young woman (“She’s happy and not/at the same time.”) “Forever Defend Her Story” recounts the ordinariness of sexual assault and the way women are blamed for it. The songs are bright and dark simultaneously laying in the pretty vocals of, say, Grass Widow, atop a raucous, acerbic foundation. There’s no way you’d know, without reading the coverage, how young this band is. They sound like they’ve been doing it forever.

Jennifer Kelly

 The Futureheads — Powers (Nul)

Back at the old Dusted, I wrote perhaps my most vicious review ever about the Futureheads’ second album, News and Tributes. It was disappointment speaking — I’d genuinely liked their taut, fizzy debut — when I said, “Now, with News and Tributes, the sad truth emerges. The Futureheads were lean from hunger, not discipline. With opportunity, they tend toward the flabbiest sort of excess.” Well, 13 years have passed, and I no longer expect anything from the Futureheads. I’d forgotten they existed, to be honest, but their latest album, Powers, is kind of fun. Much of what made the debut such a pleasure—the tightly wound guitars, the unexpectedly complicated vocal counterparts, the exuberant avowal of depressing ideas—is here, too. “Electric Shock” trips all the wires (ahem) by itself, with its zingy guitar and drum cadence, its densely harmonized vocals and its celebration of an extreme form of mental health therapy (“When I got my electric shock/it knocked me off my feet”). “Jekyll” punches, stings and tantalizes, its hoarse, wracked northern lead pillowed by giddy oohs and ohs. “Can you control your transformations?” asks the singer Barry Hyde, and then the song itself transforms itself, turning into a popcorning cacophony of closely aligned vocals. Even the willfully positive, good time anthem, “Good Night Out” ripples with existential angst; it’s only a feel good song if you don’t listen too closely. And yet, there’s a great deal of joy in these tight, complicated songs. They burst into flames as you listen, leaving spots in your eyes from the brightness and the bitter taste of ash.

Jennifer Kelly

 Hammered Hulls — S/T (Dischord)

S/T by Hammered Hulls

Perhaps it's a bit lazy to toss out the old "super group" appellation; but, come on, if you're even a moderate follower of that thing we call indie rock, you have to recognize the extraordinary line-up of Hammered Hulls for what it is. With DC hardcore royalty Alec MacKaye on vocals, newly minted arena rocker Mary Timony on bass, Chris Wilson of Ted Leo and the Pharmacists fame (among other outfits) on drums, and Des Demona/Pink Monkey Bird Chris Cisneros on guitar, Hammered Hulls represents an undeniably impressive assemblage of rockers. If any individual band member's musical history comes to the fore here, though, it's probably MacKaye's, as the band trades in a brawny yet cunningly complex punk that recalls the musical revelations delivered by Dischord's first blasts of post-hardcore creativity. And while this is clearly a team effort, each sonic component is worthy of the listeners attention as much as the superlative whole. Though two of the three tracks clock in at just over a minute, indicating that at least in spirit the band isn't denying its past, the practically byzantine by comparison (coming in at almost four minutes) "Written Words" hints at the potential Hammered Hulls has to be more than just a spirited one-off by some friends with impressive resumes. This single should leave everyone desperate for more.  

Nate Knaebel  

 HTRK — Venus In Leo (Ghostly International)

Australian duo HTRK’s latest Venus In Leo is a collection of electro-acoustic minimalism characterized by a woozy shimmer reminiscent of Mark Nelson’s work as Pan American. Jonnine Standish and Nigel Yang have stripped their music to the bare bones. A heartbeat throb, sparse percussion, occasional washes of synth and Yang’s simple guitar strums underpin Standish’s voice mixed to the fore on nine songs redolent with damaged longing. There is a rawness of emotion and acute observation of small domestic moments recorded with an intimacy that draws the listener close. Influenced by dub’s use of space, echo and silence Yang and Standish achieve a feeling of momentum to evoke quiet turmoil. Their miniaturization of Missy Elliott’s “Hit ‘Em Wit Da Hee” takes repeated lyrical snippets from the original and turns the song into a ghostly waltz. “What's up star? /We know who you are/Shit, no shit I thought you hadn't noticed.” Venus In Leo’s unadorned modesty is at times devastating.

Andrew Forell

  Justin Peter Kinkel-Schuster — Take Heart, Take Care (Big Legal Mess)

Songwriter Justin Peter Kinkel-Schuster frames his new album Take Heart, Take Care as the result of an artistic problem. He'd become used to writing dark songs, until he found he was content and had mostly good things to say. It's a false dilemma, of course. Any number of artists have built not only albums but careers on encouragement (see the War and Treaty as an example of a current act doing it really, really well). The real trap for Kinkel-Schuster was to avoid get treacly in his new mood, and he successfully avoids that snare.

His performances rely on his patience — he's content, remember, but not exuberant. He builds his songs comfortably within his context, but he doesn't jump on them. When he sings, “There's plenty of wonder in this world still to be found,” on the opener, his ease prevents it from sounding like a naïve epiphany. Kinkel-Schuster's Americana-influenced indie-rock comes carefully constructed, but only to make space for that heart to come through. It's a songwriter's record, easy melodies supported by well-balanced guitars. It's the singer not the guitars who have done their processing. The record and its bright sound create a warm space and sit down in it. Kinkel-Schuster may have found his ease, but his desire to share it quickly becomes apparent.

Justin Cober-Lake

 Longriver—Of Seasons (Hullaballou)

Of Seasons by Longriver

David Longoria of Longriver picks nimbly at his guitar, plucking out porch blues-y tunes that are steeped in tradition but freshly imagined. Not quite spare, his tunes are abetted by a crew of Texas regulars, songwriters Sarah LaPuerta of Strange Paradise and Lindsey Verrill of Little Mazarn, Evan Joyce and Colin Gilmore, as well as composer/percussionist Thor Harris. Though mostly acoustic guitar and voice, his sound is filled out with harmonica, soft percussion and twining communal harmonies. His songs run at a mid-temperature folky pace, so soft spoken and unassuming enough to elide one into the other, and honestly, don’t quite catch fire until late in the album when ghostly, lovely “Texas Doesn’t Care” comes along. This one uses all the tools, an aching pedal steel guitar, some silvery electric keyboards, punchy drums and fiddle. It also contains the prettiest melody of the disc, fluttered out in a high, not quite falsetto quaver. A few more like this and Texas might sit up and take notice.

Jennifer Kelly

 Lunaires — If All the Ice Melted (Shades of Sound/Wave Records)

IF ALL THE ICE MELTED by Lunaires

If All the Ice Melted is a highly polished blend of cold wave, goth and stadium synthpop. This first outing from Milan post-punk Jeunesse d’Ivoire veterans Patrizia Tranchina (vocals) and Danilo Carnevale (guitars, programming, synths) evokes the heyday of 4AD bands such as The Cocteau Twins, Xmal Deutschland and Dead Can Dance. Here, Tranchina ruminates on loss, mortality and nature’s power as Carnevale constructs dreamy electronic soundscapes with sparklingly clean guitar lines twinkling above. The results are lovely but polite. The edges have been sandpapered to nothing and the dust swept away. “Mirror Trancefix” stands out precisely because it has that grit — the drum programming a little ragged, the bass dirty, the guitars cutting. Otherwise the gloss creates an emotional distance, which may be the point but discourages complete engagement with Tranchina’s often affecting vocals. If All the Ice Melts sounds good, and if it never quite breaks out there’s enough here to enjoy and look forward to what Lunaires could do with a little less restraint.

Andrew Forell

  Bill Nace & Chik White—Eel (all parts) / Wild Wire (Open Mouth)

The news that Bill Nace (Body / Head, Vampire Belt) has picked up an acoustic guitar and sat down to jam with a jaw harpist might give some cause for pause. Is he going American Primitive, or maybe going skiffle? Spoiler alert — the ghosts of John Fahey and Lonnie Donegan will not hear their names called when you play this record. But play it you will, and for only the best of reasons. First of all, it’s a seven-inch, black vinyl single, and no one buys such things anymore unless they really, really love them. But this one does more to earn your affection than merely exist. On the a-side, White’s orally organized vibrations and Nace’s persistent smacks on prepared strings stir up a constellation of buzzing sounds that’ll reliably destabilize your equilibrium without getting you fired when the Feds drop by to drop everyone on the work floor. The flip combines broad feedback ribbons with intermittent glottal eruptions to create a sonic sweat lodge experience so deep that you’ll be unloading all your Scientology machines on e-bay, all issues resolved.

Bill Meyer

  The National — I Am Easy to Find (4AD)

The National have been getting expansive recently (with the instrumentation and their runtimes, among other things), and who can blame them? Having attained the kind of big-venue prominence that means either you start lapsing into the version of yourself the hecklers always claimed you were (an especially slippery potential slope for a band like this one, so precisely emotionally calibrated and so close to being the bad kind of dad rock) or you start just going for it. The latter approach served them mostly well on Sleep Well Beast a few years ago, but this time finally feels like the kind of record that the National needed to make for their own progress more than one that’s necessarily fully successful. One absolutely successful move is the series of accompanying singers (“backing” seems almost disrespectful for what Gail Ann Dorsey and Lisa Hannigan, among others, bring to these songs), and the expanded studio palette first highlighted on Beast is still mostly working for them. There’s even a quick comparison in the form of old fan favorite “Rylan,” which still sounds great here. Ultimately what doesn’t quite settle right is just the sheer length, bulk, and discursiveness of the album, complete with accompanying film, brief interludes by the Brooklyn Youth Chorus, interpolating a Thinking Fellers Union Local 282 song into a track that was already too long and feeling that somewhere within these 63 minutes is a really killer 40 minute or so album just waiting to be carved out. Eight albums in, things could be a lot worse.  

Ian Mathers  

 Reduction Plan — (Ae)Maeth (Redscroll Records / Dune Altar)

(Ae) Maeth by Reduction Plan

Reduction Plan swells to epic size in this sixth full-length, turning the darkwave, synth-heavy aesthetic laid out in the five previous albums into an enveloping, shimmering, near-post-metal overload. Daniel Manning, the band’s single member, worked with Swans/Walkman producer Kevin McMahon this time, a move which transformed his Cure-circa-Disintegration gloom into a weighted, gleaming edifice. “An Act of Self Immolation” sets the tone with giant masses of guitar sound that tower and lumber. Unencumbered by vocals, it’s more like Pelican than gothy-post-punk. “The River” hews closer to new wave, with its clean, chiming synth tones, gate-reverbed drums and echoey vocals — there’s a nice smouldery sax solo in this one, too — but still looms and glowers with a palpable heaviness. “Ae Maeth,” at the end, brings on Jae Matthews from Boy Harsher for added vocals, a kindred spirit in reviving music at the intersection of dance, goth and industrial; the album’s longest cut slows the thump of dance floor into a desolate cadence that can’t and won’t stave off destruction.

Jennifer Kelly

 Rosenau & Sanborn — Bluebird (Psychic Hotline)

Bluebird by Rosenau & Sanborn

The house on the cover of this LP is surrounded by fallen leaves. But even though it depicts the location of this recording, and that recording took place in October, and they recorded with the windows open, the sounds inside are not particularly autumnal. Chris Rosenau’s (Collections of Colonies of Bees, Volcano Choir) is too quick and eager, Nick Sanborn’s (Sylvan Esso, Megafaun) electronics too effervescent. This music feels like the sun hitting your brow, refracted by heavy air. It feels like the first awareness of escape when you turn off the work phone and start a vacation. Or maybe it just feels like Indian summer. Put it on, put the speakers out the window, and go kick some leaves.

Bill Meyer  

 We Melt Chocolate — We Melt Chocolate (Annibale Records)

we melt chocolate by we melt chocolate

The reanimation of shoegaze pioneers My Bloody Valentine, Slowdive and Ride has brought renewed attention to the genre’s flourishing across Europe, the US, and Japan during their absence. Italian band We Melt Chocolate — that’s Vanessa Billi (voice and synth), Lorenzo Sbisa (guitar), Enrico Baroncelli (guitar), Marco Crowley Corvitto (bass) and Francesco Lopes (drums) — hit all the classic marks on their latest, excellently produced self-titled album. Ethereal vocals, banks of effects laden neo-psychedelic guitar, washes of synth, and a thick bottom end are all present and correct. Taking Loveless as their template, We Melt Chocolate strive for the epic and on tracks like “wishful” and “orange sky” reach it with elegance rather than sheer volume, although turning it up never hurts. We Melt Chocolate probably won’t convert non-believers, but fans of shoegaze and dream pop will find a lot to like here.

Andrew Forell

[shawn7xu]

🌾🌾🌾#nanjing #qinhuai #travelinchina #riverbank #wheatfield #qinhuairiver #yangtzeriver #wheat #travelgram #green #river #fishing #longriver #china #fish #nanjingcity #instapic #yellow #visitjiangsu #net #chinese #travel2china #visitchina #discoverchina #mychinagram #instachina #chinatravel #chinatrip #captchina #explorechina (at Nanjing, China) https://www.instagram.com/p/CQWKKkHH_Jx/?utm_medium=tumblr

[blkbox-music-posts]

@davidlongoriatx's quarantine buddy. 🐱 Who else has a furry friend at home? #IndieMusic #Folk #Podcast

[the-sea-of-regret]

Chongqing by Tianxiao Zhang

[thornaelle]

Tealeaf Longriver | My D&D party’s halfling ranger/rogue! A ko-fi reward gifted from our DM to her player on their wedding anniversary ♡

(not pictured: her daft doggo Nova, probably eating something she should not be and pretending she’s never heard of B A T H T I M E.)

[vartekki-draws]

First drawing of the decade had to be my boy, Hurstwick 

[loksthegreat]

what of visenya’s daughters? who are they?

does otto and vi have a favourite and least favourite child and why?

Yes so Visenya actually has a 7 sons before she has her first daughter Aly in 115 AC, but she does end up having 6 daughters in final, five of which life to become adults.

There’s Alysanne II (115-159) she was a complete copy of Visenya when she was a kid (at least in character, she takes after Otto in looks) and both of her parents absolute favorite, as the first girl and the child that really saved their marriage. She was always close to her parents and inherited both of their political scheming abilities, she went to become a dragon rider and enjoyed swords play and archery as much as her mother in her youth. After 126 AC Alysanne had been fostered by her cousin Lord Royce. In 129 AC she and Visenya toured the riverlands and ended up convincing the lord of Riverrun to allow a match between his son Kermit and Alysanne (Lord Tully and Vissy had massive beef at the time, man really didn’t like this arrangement). Alysanne married Kermit in 132 AC and had multiple sons with him, before the man’s untimely passing, there was no love to their marriage but they were said to be the best of friends. Only weeks after his death Alysanne did what she had wanted to do for years, and married a knight of riverrun ser Rohdan Longrivers, a bastard that had served her mother during the battle of the bastards and had become her close companion in the short years of her marriage. Her mother and her would often fight on the matter of this choice in the following years and never grow as close as they once were, even though her father and she continued to regularly converse via letters.

Princess Alyssa IV (118-142) is the second daughter of Visenya and Otto and was as strongly favored by her father, as Alysanne, she was a beautiful girl all tough she lacked her mothers valyrian features. Alyssa was always praised for her looks and stayed far away for the rough play and knightly activities her siblings enjoyed, she much preferred music, poems and fashion, all though she to was raised with a gift for politics and diplomacy. She was sent to live in old town with her two years older brother Daeron, in 126 AC, where she would become known as the rose of Oldtown. She was betrothed to the heir of high garden, Lyonel Tyrell for a few years during the dance but the arrangement broke with Lyonels passing, before they even got the chance to meet in person. Instead Alyssa married her cousin Ser Joffrey Strong, a famed knight. They had only one daughter together, a quite and timid girl, before both fell victim to a ambushing by a band of sellswords. Duo to lord Jace Strong passing by coughing up blood and suffocating on it, in the same year people said it must have been the curse of harrenhall, that left the strong family reduced to three now orphaned girls, the cousins Aenera I, Daella II and Aerella I.

Next are the twins Aerea III (120-126) and Aella II (120-196), they where both wild and lively children and quite different in personality, Aerea was very smart, but enjoyed playing tricks and mean jokes on people more than everything, while Alyssa was less gifted in her studies, she was emphatic and honest, she had often get into fights with her sister whenever she was tormenting a serving girl or stables boy. Otto never liked Aerea Duo to her arrogance, but Visenya could always forgive her and tried to have her pushed more by her septa so she had lose the boredom that seemed to haunt her. In 126 Aerea was kidnapped from the red keep and after days of searching the city and blocking the harbor, she was found dead washed onto the shore of the black water bay. Visenya was devastated by the loss and send nearly all of her remaining children away, to be fostered somewhere safer (girl was blaming herself a lot). Aella was send to the Eryie, to her cousin Vissera Arryn. She enjoyed life in the vale, with golden blond hair and blue eyes almost she fit right in with the Arryn looks and she enjoyed falconry. Years later in 138 AC Aella was the last of the queens children to return to Kingslanding. In the same year in which her brother Daeron returned from his adventures in Essos. Daeron was 4 years older and had claimed a dragon from the dark lands of Asshai, he was a intelligent man, and the most kind among their brothers. Aella and Daeron quickly fell in love and would become almost inseparable in the following years. Whenever Daeron was away to study at the citadel, it is said that these two exchanged more letters than the entirety of old town had send to kingslanding in a year. They were wed 3 years later and had a daughter and a son soon after. After the fire of the Hightower, Daeron became lord of oldtown and Aella his lady.

Then there’s Aenna II (123-196) the most favorite favorite daughter of Visenya. She was born a sickly child and was always easily exhausted and prone to fainting and dizziness. Her mother felt that Aenna the was the most gentle of her otherwise very headstrong and wild kids and was very attentive of her. Aenna was always a quiet but smart girl, she rarely spoke but when she did, she seemed wise beyond her years. Aenna was a dragondreamer much like her mother and from maidenhood on she had been sure of her future, to one day marry her younger brother Aegor, as she had told any knight that had approached her, drawn in by her long silver hair, violet eyes and pale skin. Even when she became betrothed to the unborn child of Lady Aryanna Baratheon, and after said child’s passing in the cradle, Aryanna’s nephew Aryas, while her brother was betrothed to lady Lucerra Lannister, she did not waver in her believe. And remain right she did for but Aryas and Lady Lucerra met an untimely end before either wedding could happen. And so she married Aegor in 140 AC, they made an unlikely pair, the tall slender beauty that was the princess, with her quiet voice and gentle touch, and the short and bulky prince with his golden head of hair and boyish temper, he was loud and many though him to wild and disagreeable to make a good husband for a girl so soft of heart, yet it was a deep love that bound them together, a love from which many children would come. (When she got murdered Aegor lowkey pushed the entire realm into war)

And then there is Visenyas youngest, Daenerys II (126-152), she was born to her mother the same year that Aerea died, and most of her older siblings were send away within the same year to be fostered elsewhere (I think I’ll make a post about where everyone went and how that was, if anyone’s interested). So Daenerys was a bit of a lonely girl, her father was distant and her mother found it hard to connect with her. She was always the smallest among her siblings, with golden hair and sad eyes. Daenerys was a beautiful girl but she found it hard to converse, she was shy and quick to tears. When she was 14 in 140 her mother was at the end of her wits and send her away to Dorne, where she hoped the warm climate, the more open culture and the closeness to her eldest brothers wife princess Velaris would help her open up. Velaris was 23 years Daenerys elder and a mother herself, still the two grew close and soon after Velaris Cousin the young Ser Morian Martell, started to court the princess. Daenerys eventually married the man and they had three sons together. Daenerys enjoyed the live in sunspear and all that had known her before thought her to be happier than she ever was, still after the birth of her youngest in 150, a shadow fell over her again and not 2 years later she drank a cup of poisoned wine and died on her balcony.

Hope that answers your questions about the daughters, I’ll be making another post about Vi’s and Otto’s favorite and least favorite child and put the link here, but as always feel free to ask me any more questions that might pop up !!!!

[parrotandpalm]

Water just water #tamigiriver #virginactive #virgincollection #london #canarywharf #igerstorino #igersitalia #igersmilano #igerslondon #swimming #garmin #arena #fight #icon #zoggs #mylife #runbabyrun #picoftheday #instagood #instalike #icoolhunt #trendsetters #trendalert #travelblogger #fashionista #fashion #sport #sportlover #globetrotter #gym #speedo #blue #longriver #sky #parrotandpalmstoretorino #lucilla.s (presso Virgin Active Canary Riverside)

[the-art-block]

Three Sisters Sue-Anne Wilson, Nimkii Doyle, Kicks Nation Resources Zagaakwaandagowininiwag Ojibwe, Bear Clan Embraced in 2000, 1960, 1981

Tommy Blackbird, Advisor to the Great Lynx Apache Embraced in 1992

John "Wahiake:ron" Knight, Operative Kanien;keha, Turtle Clan Embraced in 1900

Merrill Longriver, Medicine Man Tábąąhá Diné Embraced in 1980

Atena:ti, Advisor to the Great Lynx, Honored Elder Kanien;keha, Wolf Clan Pre-colonial Embrace, Year Unknown

"All bloods come, the Moonrise Nation will have you."

- Mishibijiw, The Great Lynx

Not enough ndn rep in the WoD or VtM settings so here!!!

🦇🦇🦇

[mcisworldwide]

July 25, 2020 That day was our friend, Val’s birthday. We hiked the Bodega Bay Headlands and ended up in Cafe Aquatica and Tasting by the sea after, again, by accident. Cheers to this beautiful friendship! Party of five! (at Jenner, California)

[telectr0scope]

Wren investigates more into what's going on in Strangerville