#nine for the tomb and for all that was lost

[glassesanddisasters]

Nine for the Tomb, and all that was lost.

Over the latter half of last year and the first half of this year I put hundreds of hours into crafting my Harrowhark cosplay, it consisted of hand embroidery, beading and bone crafting. It may be my one of my favourite creations.

Harrow means the world to me and I'm so glad I am able to bring her to life. Hope ya'll enjoy my design of this little necromancer. More photos of her to come (Including more detail shots).

Photo Credits to my wonderful friend.

[cav-core]

Everything going on with the Ninth House in The Locked Tomb is a great exploration of why an atomic priesthood actually would be one of the best ways of handling long-term nuclear waste site safety warnings.

[lasenbyphoenix]

[shredsandpatches]

I spent way too much time on the drive back to St. Louis from Michigan contemplating voice casting for an opera of the Locked Tomb series, you know, if that were physically possible to do. Didn't get very far because I couldn't decide what voice part Harrow would be (she and Gideon should be different voice types/parts but I can't picture either of them as a soprano really)

(I haven't even read Nona yet, I've been busy running around like a headless chicken at the new job)

[wandringaesthetic]

A thing I appreciate about The Locked Tomb is I think it would be almost impossible to adapt

[auraboo]

Nine for the Tomb, and for all that was lost.

Brush pen, ink + watercolours. And vibes. I whipped this together in like two days, powered by tea and feverish abandon alone.

[billyshakesp]

One for his Lyctors

Something that will never cease to amaze me is how well TazMuir writes the Lyctors. So I'm making it your problem ;). CW: Spoilers for Gideon the Ninth and Harrow the Ninth.

Let's start off by stating the obvious: the Lyctors are old. Whenever I mention "the Lyctors" in this post, I'm referring to Jod's original crew of eight Lyctors, and, more specifically, Augustine the First, Mercymorn the First, Gideon the First, and Cytherea the First. Those four are the ones we have met at the time of writing this. And they are old. They are each ten thousand years old. However, ten thousand is a number which may not mean much to you since you (presumably) have not even reached the age of two hundred. To quickly contextualise how colossal a number ten thousand years is, just remember that written history only extends as far back as five thousand years. In not so many words, my bbygirls are not actually very baby, and are, in fact, fucking ancient.

We, as humans, do not have any living reference for a ten-thousand-year-old being, aside from an occasional tree or a sponge, or perhaps a condiment bottle so deep in the back of your fridge that it would warrant a paleontological dig, but I digress. So how does Muir write her Lyctors so effectively?

Vicious dehumanisation

One of the most striking things about the Lyctors is the dehumanisation they have suffered over the past myriad. The first thing I noticed while diving into this subject (and by diving into, I mean I took a long shower one day and pissed off my family) is that the Lyctors do not have last names, and their first names function more as titles. Furthermore, the Lyctors are referred to as the hands, fingers, and gestures of the Emperor. In short, the readers and the characters of the Locked Tomb, including the Lyctors themselves, don't see the Lyctors as individuals anymore. Rather, their sole purpose in life has been reduced to just a soldier of the Emperor. Muir really shows the effects of the Lyctors' age; they are ancient, to the point where they have lost their own humanity and the only reason for their existence that they still hold onto is to serve the Emperor.

2. Their morals

Are extremely fucked up. Like, I cannot emphasise enough how fucked up the Lyctors are as people. Their morals are twisted in a way which can only come about from ten thousand years, rotting in deep space. For example, G1deon probably makes like 56 attempts on Harrow's life, and he doesn't give a second thought about it. When the other Lyctors find him, they don't really condemn his actions the way a human would expect another human to condemn attempted murder. To the Lyctors, life and death are both abstract concepts: life has lost all its meaning to the Lyctors, and thus, they do not see value in others' lives, especially the life of another Lyctor. Especially the life of a "Half-Lyctor." Additionally, Cytherea's plot to destroy the Nine Houses, while technically noble in its intent, is just insanely messed up. Yet, it makes sense in the context of her being a Lyctor, and, furthermore, someone who has suffered abuse for the last ten thousand years. She wants to bring justice to Jod, and for her, a small genocide is completely insubstantial. These people do not value nor understand life the way a human would, because they are unbelievably old.

3. The ways they break

Every one of the original Lyctors we see has a point in which they break, and when they break, we see a glimpse of the humanity peeking through. I could do character analysis on all of the Lyctors, but that would take a really long time. In short, we, the reader, get to see shreds of the people the Lyctors once were, and yet this only demonstrates just how shattered they are under the inexorable weight of time (yes, I use inexorable excessively now that I've read these books). Muir feeds us these pieces of the Lyctors' former selves to show just how buried that former self is.

In short, Muir does such a good job writing her Lyctors. They really are some of the most beautifully tragic characters I've ever read. I'm really just compiling some of the elements which I think Muir used to achieve the effect of "this character is bloody ancient." Feel free to add anything you feel that I missed (and I'm sure I missed a lot of stuff), and thanks for reading!

[mayasaura]

So I noticed something in Harrow the Ninth. In chapter two, when John is trying to console Harrow over having lost Gideon, he puts his hands on her shoulders, and he says "Gideon Nav did not die for nothing."

Harrow feels "a hot whistle of pain run down [her] temporal bone," which is, we know now, Harrow having a stroke as her skull alters her brain so that she hears him say 'Ortus Nigenad' instead. And she replies to him in kind, using Ortus' name. So the interesting bit is John's reaction, look:

He had his hands on her shoulders the whole time. Physical touch negates lyctoral blindness, and she had a stroke while he was touching her. That look on his face. Is he working out an emotionally taxing anagram, or is he taking a good look at her and working out what the hell just happened? Then he says Gideon's name again, like he's running a test, and Harrow has another stroke. That's exactly the same test Mercy performed to figure out what Harrow did to her brain in chapter twenty-nine.

He knows. He's known about the lobotomy since chapter two. He thinks she did it to forget her grief and guilt, and he thinks he understands.

Which means when he 'notices' the lobotomy in this scene:

He's not really noticing it for the first time at all. He's calling attention to it. He's just told Harrow that she didn't open the Tomb, that she's wrong about the events of her own life, and then he deliberately 'discovers' and points out her brain damage to seal the deal.

John Gaius uses: Gaslight! It's super effective.

[katakaluptastrophy]

"I’ve already pretty much revealed that Alecto begins with the descent of Christ into Hades." - Tamsyn Muir

That's right...it's time for more Bible study for fans of weird queer necromancers!

It's currently Holy Week, the week where Western liturgical Christians reenact the events of Jesus' death and resurrection in real time. And today, it's Holy Saturday. So Jesus died on the cross on Good Friday. He rises from the dead on Easter Sunday. But what happened in between? His body lay in the tomb...but his spirit was otherwise preoccupied. Because on Holy Saturday, Jesus went to Hell.

But why would Jesus go to Hell? Because the resurrection was not just about saving the people who came after it - it was a bit more...wibbly wobbly, timey wimey.

To be a bit more specific, he didn't visit Hell Hell. The place Jesus visited isn't Hell in the sense of eternal punishment of the damned, but Hades or Sheol or the Underworld or Limbo - a place for those who were mostly good but lived before Jesus' resurrection had made salvation possible. So before his resurrection, Jesus went to make that salvation retroactive. Particularly, according to tradition, to major figures from the Old Testament, including Adam and Eve.

So Nona the Ninth ended with Harrow walking off into the River in search of theological truth. And Alecto the Ninth apparently begins with Harrow in Hell:

Alecto the Ninth, ACT ONE HARROW IN HELL CHAPTER 1 At a point in the slit she was carving through life, Harrowhark Nonagesimus woke to find herself lost in a dark wound. She had been walking when it had all gone black– any path ahead or behind was blotted out; now she was here.  - Tamsyn Muir reading at TorCon

This is riffing heavily on the beginning of Dante's Inferno:

"In the middle of the journey of our life I came to myself within a dark wood where the straight way was lost." - Dante Alighieri, Inferno

But lots of people go to Hell. What's so special about Harrow going there? Because the traditional name in English for Jesus' chthonic salvation adventures on Holy Saturday is "the Harrowing of Hell." "Harrow" comes from an Old English word meaning to attack or despoil - a very martial way of expressing the idea of Jesus as the victor over sin and death.

Harrow ended NTN realising that she cannot trust John's account of metaphysics. That she needs to discover the reality for herself. The faith of the Nine Houses and John's own styling as god rests on the foundation of the Resurrection - John is the "ransomer of death, scourge of death, vindicator of death", his power is understood to be absolute: "Let the whole of everywhere entrust themselves to him. Let those across the river pledge beyond the tomb to the adept divine."

And yet even that prayer - "let those across the river..." - introduces doubt. Magnus jumps in to silence Abigail when she expresses her heretical belief in the River beyond, and Harrow herself scoffs that "it has been thousands of years since anybody bothered to believe in the River beyond." Abigail believes that John knows nothing about what exists beyond the River. And what about Hell? In HTN, Ulysses the First is described as "languishing in Hell" after his run-in with a Resurrection Beast. John himself describes the stoma as "the mouth to Hell", "a portal to a place I cannot touch - somewhere I don't fully comprehend, where my power and my authority are utterly meaningless."

In the Book of Revelation - the Bible's account of the end of the world - Jesus holds "the keys of death and Hell". John may have resurrected the dead, but he does not comprehend what is beyond it. Both the destination of the good, the River beyond to which the souls of little Isaac and Jean should have traveled lightly after their short and brutal lives, and the Hell that lies beneath the stoma are outside of his power. He is a few keys short of the full divine bunch. He can manipulate death, but he is not really its master.

And so Harrow walks off into the River to look for something or someone she can call god. Harrow, who shares a name with the defeat of death across time and space. Harrow, who is of the unbroken line of Anastasia. Anastasia was kind to Alecto, who like Eve is the mother of all and like Adam walked on the empty earth with god.

In Orthodox icons, the Harrowing of Hell is depicted with Jesus triumphant, leading Adam and Eve by the hand from their tombs. The traditional term for this image is an anastasis, the Greek term for resurrection. Adam and Eve, whose sin broke the intended shape of reality, are restored to wholeness with god.

How will Harrow answer her questions about god? What really is beyond the stoma and what would it mean to conquer it? What does it look like, metaphysically, to restore the world of The Locked Tomb to wholeness, and what will it cost?

[torpublishinggroup]

“Two is for discipline, heedless of trial; Three for the gleam of a jewel or a smile; Four for fidelity, facing ahead; Five for tradition and debts to the dead; Six for the truth over solace in lies; Seven for beauty that blossoms and dies; Eight for salvation no matter the cost; Nine for the Tomb, and for all that was lost.”

8-74-13-18 13-343-25-111 8-269-16-10 15-386-33-34 9-209-9-25 14-131-22-34 7-283-11-34 13-283-27-55 9-453-6-17 14-508-25-65 7-212-10-17 14-172-21-153.

[theglamorousferal]

Some Uzushiogakure/Danny Phantom shit for y'all

What if Kushina felt when the barriers fell at Uzushio?

What if it sent her sprinting as fast as she could towards her first home?

What if she made it, but after the city had fallen?

What if in her grief and rage as she sat amongst the blood of her people, her family, she activated a long forgotten seal buried beneath the city?

The blood seeping through crevices to channels, flowing down the intricate seal and finally dripping down into a tomb.

Drip.

Drop.

Her chakra, her rage, the power of the Nine Tails as he relishes in her anger shines like a beacon from the center of the village.

It too seeps through the cracks.

All the way to the tomb.

Bright green bursts through the cracks beneath the lid.

______________________________________________

Kushina's rage whipped a storm about her.

The rain hid her tears as it pelted her small form, knees scrapped from when she landed hard on them.

She screamed, bending forward until her bare forehead-

The threw it so hard it lodged itself in the column of the Gates of Konoha when they tried to make her stay.

was pressed to the ruined mosaic of the village center, pounding her fists against the ground.

A sudden chill, the heaviness in the air of someone holding carefully leashed power, and a gentle hand on her shoulder.

"Child, what happened here?"

She jumps into a ready stance, a kunai in each hand.

"Who are you?"

Green. That's the first thing she notices, brighter than the leaves of any tree in Konoha.

White, then black. His hair floats as if in water and his armor appears ancient, older than the Warring Clans era. He wears no headband, but a circlet that appears made of ice. He is also floating about a foot above the ground and the rain seems to pass over him as though his mere aura kept the downpour away.

"I have many names, but of all I prefer Danny."

Kushina blinked. "What are you?"

The being, Danny, seemed to ponder for a moment. "I suppose the closest thing you would have here is a god."

That would explain the power and the fact my hair is all on end.

She licked her lips for a moment. "What are you the god of?"

"Protection, longevity," he pauses for a moment, uncertain, "Death."

"A shinigami?!" she hissed "I should have expected one to be here."

"Again I'll ask, what happened here?"

Kushina's face went entirely blank as she set her arms by her sides, hands still clenching the kunai in a white-knuckled grip. She looked out over the ruins of her birthplace, her home.

"Uzushio fell. I don't know yet who did it, I just felt the barriers fall and by the time I got here, it was deserted."

The being watched her, bright, bright, almost too bright, green, flickered across her, eyes settled on bright red hair.

"You are an Uzumaki, are you not?"

She jumped and turned back to the being. "Y-yes."

Danny grinned and began to float towards the Kage's office. "Well, not all is lost. It may have been a long time since I was sealed, but I should be able to find everything necessary. First I'll have to find the cardinal points seals to set the foundations back together, and then we'll get about the resurrection seals."

"R-resurrection seals?!" Kushina stumbled after him, entirely out of her element for once.

"Oh, yes, I forgot to mention, one of my many names."

"And what's that?"

A smile with too much teeth and vengeance behind his eyes turned back to her.

"Uzushio."

[inkdragon1900]

…TAMSYN MUIR IS FUCKED UP.

I just realized the poem at the beginning, the line “Nine for the tomb, and all that was lost.”has a McFreaking double meaning.

Not only is it the Earth/Alecto

But it’s Harrow and Gideon, the last of their generation of the ninth house.

“For the tomb” is Gideon since she was literally born as a sacrificial lamb to open it.

“And all that was lost.” is Harrow because her parents killed 200 children of the ninth house to make her.

[lasenbyphoenix]

[shredsandpatches]

Spent way too much time contemplating whether or not this juxtaposition was intentional (some of the other pop culture references in the puzzle made me think maybe)

[katamaricule]

What is dmbj? I've googled it but idk if it's one of those 'I love it and recommend it' shows or a 'I love it - pls never watch it <3' kinda show yk lol

Is there an answer somewhere in the middle? Because that's where it should go.

DMBJ is a franchise based on a set of novels by an author we'll call NPSS. These are mostly first-person tales narrated by a spoiled little dipshit named Wu Xie, as he and his friends go on tomb-raiding adventures, encounter supernatural obstacles, and learn about all the ways snakes don't work. The series has several giant holes in it, as NPSS tends to get bored and wander off mid-story. Several dramas and movies have tried to adapt various pieces of this gap-ridden, wholly unresolved saga, to varying degrees of success.

So to answer your question: There are installments of DMBJ that are a hoot that you should watch, and then there are installments of DMBJ that are also a hoot but you shouldn't watch before you have an affection for the franchise as a whole, and then there are installments of DMBJ that you should not watch even if you are a fan of the franchise because they are just not worth your time.

The problem is, not everybody agrees on what goes in which category. But if you're interested and want to give it a go, these are my personal takes on what's what, in chronological order of events as they happen in the series:

The Mystic Nine

Good starting place: Yeah, actually!

Requires prior knowledge: Nope

Actual ending: No resolution whatsoever

Wu Xie: He's not in this one

Best part: Charming characters you love or love to hate

Warning: Very cheaply produced, with cuts that render significant parts of the story incoherent

Worth watching: Yes, if you're willing to accept the jankiness

The Lost Tomb

Good starting place: Weirdly, no, considering that it's the first series they made

Requires prior knowledge: Not really

Actual ending: Oh, heavens no

Wu Xie: Cardboard twerp, kinda cute

Best part: There's ... some antics, I guess?

Warning: Makes some bizarre additions, condenses several books, just ... isn't very good

Worth watching: Not especially

The Lost Tomb 2

Good starting place: You could do worse

Requires prior knowledge: Some, but who knows if it helps?

Actual ending: Ha ha ha you're funny

Wu Xie: Breathtaking idiot twink street-parking a Maserati

Best part: Wu Xie and Pangzi are in love

Warning: Interminable bronze tree plotline, incomprehensible timeline especially at the ending

Worth watching: Sure, but bring a book for the long stretches

The Lost Tomb 2: Explore With the Note

Good starting place: It doesn't matter, because you're not going to watch this one

Requires prior knowledge: It can't save you

Actual ending: Nothing of the sort

Wu Xie: Shove that whiny nerd in a locker

Best part: There is no best part

Warning: Don't do this to yourself

Worth watching: What do you think

Ultimate Note

Good starting place: It seems like no at first, but it actually is!

Requires prior knowledge: It helps, but you can get by without it

Actual ending: Complete cliffhanger

Wu Xie: Precious muffin

Best part: Everyone is so cute, also heihua

Warning: Tonally way goofier than the other series

Worth watching: Yes! This one's so fun

Tomb of the Sea/Sand Sea

Good starting place: If you like things on Hard Mode

Requires prior knowledge: The main character doesn't have any, so why should you?

Actual ending: It thinks it does, but it's stupid and slapdash and leaves a million loose ends

Wu Xie: Mafia widow (also he's not the main character)

Best part: Seeing from the outside how fucked-up the whole Tomb Raiding Industrial Complex is

Warning: A hot mess, but occasionally a beautiful one

Worth watching: Yes, but maybe save it for later

Reunion: The Sound of the Providence

Good starting place: Shockingly, yes

Requires prior knowledge: No, though it recontextualizes everything once you know more

Actual ending: Yes! Holy shit! We got an ending here!

Wu Xie: Consumptive angel with a gun

Best part: Some truly impressive performances from Actual Actors, Wu Xie and Pangzi are married

Warning: Honestly, just watch this one first so you don't know what you're missing, because once you do, you can't unsee it

Worth watching: Definitely

I hope that ... helps? Or at least doesn't make your confusion worse?