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who sleeps in the dog beds?
i'm just thinking about the cavalier cots, and how all the characters used/responded to them.
(note: i know for a fact i've seen at least one other post about this, but i do not specifically remember the contents of that post. so if i do some plagiarism here, i would like to apologize and assure you that it's accidental.)
so.
2: it's judith and marta. obviously they use the cavalier cot precisely as intended. even if judith secretly cherishes fantasies of marta bending her over the edge of the master bed, they use the cavalier cot as intended.
3: obviously it goes without saying that the tridentarii share the master bed. i think on paper the cot belongs to naberius and he does sleep in it occasionally, but i also think when they're mad at him they make him sleep on the floor.
4: this is the only one i waffled on a bit. the conclusion i've come to is that, for the first few nights, jeannemary took the cot and isaac slept in the master bed like you're supposed to, because that's the kind of pair they want to be. but after the fifth died i think they started cuddling up together in the master bed, when they slept at all.
5: they're married. it would be pretty weird actually if magnus slept in the cot.
6: we have canon confirmation that the cot is used for storage, which means cam and pal almost certainly share the bed. no one is shocked.
7: gonna say n/a for the seventh because i doubt that the shambling corpse of protesilaus the seventh, ya know, sleeps. but i will say that, if the real pro and dulcie made it to canaan house, she would sleep alone in the bed. not out of any power dynamic, just due to protesilaus's sense of chivalry. she's sick, she needs the more comfortable situation. i think dulcie would feel a bit guilty about it, but pro would insist.
8: do i even need to include the 8th on this list. either they use the cot as intended or they both sleep on the floor, there are no other possibilities.
9: no speculation here, we know how it went down.
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katakaluptastrophy · 3 days
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i feel like g1deon would probably have a good deal of body dysmorphia post-resurrection (though i do think that the more unflattering descriptions of him came from gideon, a lesbian who's textually grossed out by muscular men), because of the ...Everything in the way jod brought him back
The way Jod talks about modifying G-'s memory is particularly horrifying:
And my loved ones … The ones I left, I’ll bring back. I know I can. Even G—. In fact, G—’ll be easiest—he won’t remember the compound—none of them will have to remember anything. I know where remembrance lives in the brain, and he won’t have any of it. You know that too, don’t you? It’s the easiest thing in the world … to forget.”
The idea of what the original disciples can remember - or the ghosts of memories that don't quite come to the surface but still haunt them in some way is so horrifying.
I assume Jod induces some kind of retrograde amnesia, knocking out huge swathes of memory but leaving abilities and personality intact.
Even those who weren't regrown from an arm must have struggled with the incongruity between whatever memories of appearance their mind still had, or didn't quite have - something jarringly off in lost years. And that's assuming Jod didn't just make any modifications on a whimsy. (Is Mercy a strawberry blond described by a teenager who's never seen that in real life before or did Jod give her anime hair for funsies?)
But poor G1deon didn't just look older or younger or have different hair. Presumably all of the necros found something unsettling about how the new shape of their bodies sat with some inaccessible sense of self, but G1deon was at best an attempt by Jod to give him a muscular physique when the necromantic body simply can't usually sustain that (was he built before? Did the incongruity of the muscles without fat even when well hydrated sit wrongly in his mind? Or had he aspired to be but never was - was John trying to be nice in a horribly macabre way?) and at worst a shoddy job that might have felt dysmorphic even by comparison to others, let alone from half-submerged memories of self.
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brungeons-and-bragons · 7 months
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Welcome to The Locked Tomb! Our books are told through the point of view of
-jock stuck at a renn faire murder mystery party
-schizophrenic malnourished teenager granted unspeakable power
-a baby. Like an actual 6 month old infant.
Good luck!
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diosapate · 13 days
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mercy killed john cleanly. he did not die in pain, she did not disrespect his body; she killed him quickly and efficiently and that was it. john killed her brutally!! he mutilated her and covered someone else with her gore and only then killed her with a tap to the back of the head. he ripped a dead woman’s cloak from her body and touched her corpse with his bare foot to prove a point!!
all this to say: necromancy is disrespect for the dead under the guise of reverence, and john isn’t even bullshitting respect for the dead anymore in Thee most obvious way. god’s mercy is finite and he has none left; i suspect that his “i’m just a little guy :)” act is at its end and we are about to see more of the man who claims that guys like him don’t make mistakes.
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direquail · 2 months
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I don’t think people give enough weight to the fact that Nona is chronically-to-terminally ill in NtN, either—the reason she needs help taking care of herself, by the end of the book, is because her soul is eating her body and her body is dying. Every time she has a “tantrum”, or accesses Alecto, she uses up Harrow’s body in huge gulps—that’s why she gets sick or passes out after them. She spends most of her time in the early book thinking wistfully about how lucky she is to just have what she has and how much she wants to be useful and it’s a meditation on her awareness of her own death. Like.
Yeah, of course she needs other people to help her take care of herself. She’s disabled and actively dying.
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tato-potat · 2 months
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okay, so, long story short, a friend asked if a person could appreciate Harrow the Ninth without first reading Gideon the Ninth, and i'm struggling to explain to her exactly why that's one of the funniest fucking questions i've ever heard
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theriverbeyond · 2 months
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Harrow the Ninth is really a book about what happens when you are the Best At Something your whole life and you sweat and bleed and sacrifice everything to earn your way to the place/position you've always dreamed of, but then when you do succeed it isn't as you expected. Not only does everyone you once admired turn out to be an awful person, but your abilities are no longer special. Your talent isn't enough. Your effort isn't enough. Your new peers have worked just as hard as you have and know just as much as you do, but more than that: they seem suddenly better, faster, more capable, all while you flounder in the shallow end of the pool as the abilities you spent your whole life honing abandon you in your time of need. Humiliation becomes your constant companion as you sweat and bleed and try anyway, but what once netted you endless success and acolades is now barely enough to survive.
And then, of course, there is The Skull
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celira · 5 months
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she's a pill. she's ambidextrous. she can diagnose an intercranial hemorrhage with one look. she's like light moving across water. she would have worked in data. she fights like a grease fire. she's a mad dog. she was the best in her house at fifteen. she's the second strand. she can do a back handspring down the stairs. she can learn anything in a few tries but thinks she's got one thing. her smile makes the earth want to marry her. she blazed like a white candle. I didn't say her name, but she popped into your head anyway, didn't she?
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harrowing-of-hell · 3 months
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i've been meaning to talk about the scene where cytherea's body shows up underneath harrow's bed, and the whole "is she actually there or not?" question, because many people seem convinced that ianthe was gaslighting harrow and i genuinely don't think she has any reason to do so. the scene itself is deliberately ambiguous for several reasons. the most obvious is that harrow hallucinates. she knows this. the audience knows this. this is precisely why she seeks out ianthe in the middle of the night, because harrow doesn't trust her own senses.
harrow also used bone to shackle cytherea's body to the floor— and yet her body somehow disappears from underneath the bed without breaking these shackles. initially, this would indicate cytherea's body is another hallucination.
however, we also know that there's something weird going on: for some unexplained reason, cytherea's body apparently doesn't trigger blood wards.
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after cytherea's body goes missing, it also can't be detected by john or found anywhere on the mithraeum.
one possibility is that cytherea's body is negating magic somehow. her body is being necromantically preserved by john and thus her body is imbued with john's magic. that may be why wake can move around in it completely undetected by john himself, and also may be why she is able to bypass blood wards and other types of necromancy.
but again, no concrete answers are given, and any ideas or claims are just pure speculation. all we know is that cytherea's body has been able to do weird things and avoid detection, so it's not exactly unreasonable that, if she was underneath the bed, she may have been able to escape the the shackles somehow.
additionally, though i'm not at all inclined to believe this, we also can't rule out the possibility that both of these appearances of wake-in-cytherea's-body were hallucinations and the only time harrow really saw her was in the incinerator room when she was trying to kill g1deon.
at the end of HtN, gideon claims that cytherea's body was obviously there, but she isn't reliable because she only has access to harrow's memories. she would recall that situation as harrow did, meaning she would remember any hallucinations harrow was experiencing. unlike harrow herself, gideon doesn't doubt harrow's experiences, but harrow feels the need to confirm whether she's hallucinating when it's not already obvious to her that this is the case.
and then there's ianthe, who's behavior during this scene is weird:
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ianthe says very little during this entire scene before leaving harrow's bedroom, and i think this is deliberate, only meant to make it more ambiguous as to whether the body under the bed is actually there or not.
but it's actually because of ianthe's behavior here that i believe that harrowhark seeing cytherea's body underneath the bed was an hallucination.
there are other times where ianthe comments on harrow's psychosis:
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in both of these situations, she's not nice about it! in fact, ianthe takes the opportunity to insult harrow or question whether harrow's actually seeing the things that she's seeing.
importantly, her behavior in these two instances is very different from what she does when harrow tells her to look at cytherea's body underneath the bed and touch it. ianthe doesn't insult harrow at all or call her "crazycakes" or "mad", just asks if harrow's been sleeping, says good night, and walks away.
i think that this is because ianthe gets really uncomfortable whenever she's confronted with harrowhark being in undeniably vulnerable positions.
when she sees harrow bloody and naked after being attacked by g1deon, she brushes it off by essentially going "yikes", but the fact that she makes no attempt to help harrow recover from the attack and hastily walks away from the sight of harrow's maimed body is very telling.
her walking away is so unexpected that i've seen several people say that they're not sure why ianthe didn't take that as an opportunity to manipulate harrow (even harrow expected it to happen, and welcomed it). and yeah, from what we see of her character in HtN up until this scene, it does seem ooc for her to just walk away with nothing but a quippy comment.
but to understand her behavior i think it's important to note that ianthe does see harrow as an equal! at any given opportunity she brings up the similarities between herself and harrowhark. ianthe also does this because she's down bad, but regardless, she would never equivocate herself to someone who she thinks is lesser than her.
i also don't think she would do this if she didn't care about harrow— and she does care about harrow! she was genuinely happy to see harrow was alive before realizing that it wasn't harrow but gideon-in-harrow's-body. at the beginning of HtN she kneels before harrowhark in "unmistakable supplication" and looks at her with "half-beseeching, half-contemptuous despair" as she offers to help defend harrow's body once they go into the river to fight the RB.
ianthe has no reason to gaslight harrowhark for fun the night before the RB is supposed to attack. she incessantly taunts harrowhark with her impending death all throughout HtN, but she doesn't actually want harrowhark to die. gaslighting and destabilizing harrow further when harrow is already likely to die directly goes against this desire.
imo ianthe does enjoy having someone rely on her and is willing to be manipulative to achieve that, but i think she relied on harrow just as much as harrow relied on her. in HtN, harrow is very much filling the coronabeth shaped hole in ianthe's life and i don't think ianthe would risk losing that.
that's all to say, i think it's precisely because ianthe sees harrow as an equal and cares about her in her own fucked up way that, when faced with harrow's vulnerability, her immediate reaction is to brush it off and help harrow save face by walking away from the situation.
ianthe views vulnerability as a weakness and thus thinks she is doing harrow a favor by walking away from harrow in her times of weakness and making no further comment about it. it's like how many people react when they see a stranger crying it public; they would feel similarly embarrassed to be seen crying in a public space, so their way of helping that person is to ignore the fact that they're crying and prevent them from experiencing further embarrassement. she would want harrow to ignore her moments of weakness, and so in turn, she ignores harrow's moments of weakness.
in a way this is kinda how they show solidarity to each other in HtN; despite how they threaten each other with death, harrow defends ianthe when she's struggling to use her rapier arm, keeps ianthe's secrets, never explicitly mentions that ianthe cries at night to anyone (actually i think there are several scenes where harrow suspects ianthe has been crying, and she doesn't mention it aloud). in turn, ianthe thinks it best to not acknowledge or make it known that harrow experiences hallucinations. they know they're both in shit positions and aren't trying to deliberately make it worse for each other.
this is ultimately why i think ianthe wasn't lying when she said she didn't see cytherea's body; she not only has zero reason to do so outside of "for fun", but destabilizing harrowhark further would go against the fact that she wants harrow to survive the RB fight. ianthe's behavior when harrow asks her to look underneath the bed is also directly in line with the other occasion in which she has to interact with harrowhark in an extremely vulnerable moment: she seems incredibly dismissive of the situation, and then walks away.
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chekhovs-tantrum · 5 months
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All of the kisses in the Locked Tomb series thus far, organized chronologically and described accurately
Inspired by @wifegideonnav's post on Tamsyn torturing us:
Suicidal ten-year-old makes out with corpse; gets possessed
^Same kid gets eyebrow kissy and baptism from hometown butch who she's definitely killed a few times
^Same kid sticks vomit-covered tongue into throat of vicious socialite immediately after lobotomy to forget dead girlfriend
Honorable mention because it happens offscreen: Dead Girlfriend's Mom (haunting same kid) (different haunting) vent-reminisces in memories about her unholy thruple-with-two-bodies
Socialite delivers averted cheek kiss with a womp womp womp
Sloppy bisexual thruple (different thruple) fuck God after lemon queen's ex-husband takes her cannibalized nun-wife's name in vain 
Dead planet baby feeling herself; kisses own reflection
DILF distributes daddy forehead smoochies
Dead planet baby perfectly mimics dead bestie's knuckle kiss to codependent bodysharing cousin
Honorable mention because there's plausible deniability: "horrifying noises" made by twins upon reunion 
Dead Girlfriend sees girl who owned/tortured her for years, stares longingly; dead planet baby rolls with it 
DILF gives real kisses to members of thruple (different thruple-in-two-bodies) before besties mutually explode in death-by-codependency
Dead planet back in second body. Bite. 
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when you think about it, the Ninth (for all their ghoulish Ambiance) is remarkably less fucked up than the other houses? yeah they have spooky scary skeletons and dress like douchebags but when it comes to warfare they don't seem particularly interested in straight-up torturing people to death, which is unfortunately a fucking anomaly.
I mean, sure. being gangbanged to death by skeletons isn't a fantastic way to go but it's probably a lot better than whatever the Second is up to with their "die screaming 😇" power move or the Fourth's ingenious "throw exploding teenagers at it!!" gambit. I don't know exactly what tickles the Eighth's giblets but I imagine they explain mid-murder why it is Just and Right that you're being killed as they glow you to death, which is just insulting.
at least getting drafted into the skeleton army is probably more like your bones moving one way and your meat....staying still? then the meat gets turned into to soap or candles or whatever (so eco friendly!) and the bones garden shitty vegetables for a few hundred/thousand years. c'est la mort.
the Ninth aren't known to be cannibals or corpsefuckers. they don't seem interested in exploding teens (however awful they are) or slonking away at your spirit until you're a bag of wet skin filled with teeth demons or w/e. they ALSO don't expect anyone to follow their weird religion unless you really want to (but why would you though) and, after all, they only killed ONE itty bitty generation! just a couple hundred kids! so much less horrifying!!
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katakaluptastrophy · 26 days
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I think what's so interesting about Gideon as a narrator at the anniversary dinner is the fact that there's clearly tensions that she's just not picking up on because she's only there to eat a dessert.
But these people are all the immensely powerful leaders of the Houses and consider themselves to be in competition for literal godlike powers and the favour of the emperor.
There's so many little snippets that are potentially intriguing: why is Teacher trying to prime the Ninth to consider the Fifth a threat? Why are the Third and the Sixth "sizing each other up like prizefighters"? The Fifth absolutely knew what they were doing when they sat the teen heads of the opposing cults near each other.
Through Gideon's lens, Magnus' speech is a little awkward jokey thing. But...the seneschal of the House that is known to be actively trying to absorb another House is saying it's such a shame they're all so remote from each other and what do they all have in common (and it's so quiet you "could have heard a hair flutter to the floor") - that had to feel a bit different to people who aren't Gideon.
Palamedes' is dissecting the meaning of "Master Warden" and at one point compares it to a prison warden. 'Dulcinea' asking about whether Magnus and Abigail have children is perhaps less small talk and rather more pointedly political. Harrow's apparently stilted conversation with Protesilaus is clearly her actually probing his limitations like he's a bad Chat GPT-run chatbot.
And then 'Dulcinea' tells Gideon she liked the dinner because it was "useful". In her typical "I never lied to you" way, Cyth wasn't lying when she said Abigail had to die because of her hobby - Abigail Pent let loose on the Facility would have risked blowing Cyth's cover sky high. But what does a Canaan House look like where after the dinner party, the Fifth go down to the facility, get a key, and survive to continue their 'the Houses are going to get along or else' agenda? We've seen Fifth House soft power on a smaller scale in HTN: and it looks like inviting a teenager round for coffee, lulling her into a false sense of security with small talk, and then physically preventing her from leaving the room until she does what you want, while smiling the entire time. A series of little coffee chats could probably have led to a lot of cooperation in Canaan House, one way or another.
Gideon jokes about Silas marrying Ianthe because of their similar colour pallete, but it does raise the fact that there seems to be some tension around the Third, its succession, and the *point* of Ianthe. Why is Silas openly saying Ianthe should have died at birth? Combined with Judith's comments in the Cohort Intelligence Files about succession on the Third, it feels like there's something else being said here that Gideon isn't picking up on.
And of course, Harrow wasn't the only one desperate to become a Lyctor because her con was unsustainable. Presumably at some point Corona and Ianthe would be expected to marry, or at least take on more separate roles as Corona prepared to take over the throne and Ianthe was funneled off elsewhere. At some point, their package deal would have become unsustainable and Corona's cover would have been blown. But much as Harrow wants to become a Lyctor so she can reveal the state of the Ninth without repercussions, Ianthe is probably in part motivated to become a Lyctor for the same reason. Because otherwise, what would Ianthe's expected role have been? Amidst the suggestion of anxiety about the Idan succession, the dinner party also presents the fact that the reason Abigail and Magnus' infertility isn't a succession crisis for the ruling family of the Fifth is that Abigail's younger brother dutifully married in his early 20s and had kids. We know there are branch families in Ida - Babs is from one. He may be a prince, but he's not treated well, and you do get the sense that the stakes to stay in power in Ida are high.
We don't learn anything about the political situation in the Houses themselves during HTN or NTN, but in the wake of Canaan House, you have to suspect there are a number of tensions and concerns.
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mayasaura · 7 months
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I'm going crazy thinking about Pyrrha and Gideon and the permeability of souls. Bc what first tipped Palamedes off was a habit that he, the intrusive soul, picked up from Ianthe, the host. The osmosis doesn't just go one way. While Pyrrha's soul bled into Gideon, he was seeping into her, too.
Gideon wasn't an attack dog in John's recollection. He was steadfast and devoted, but he was an engineer moonlighting as a grill dad. Reminding John to put airholes in his bovine forcefield, then firing up the barbie to make sure everyone got fed. It was Pyrrha who carried a gun and wanted to hit back hard and fast. Pyrrha who advocated for a show of force.
How much of the Saint of Duty's bloody minded perseverence did Gideon get from Pyrrha, and how much was originally his? Would the Pyrrha of ten thousand years ago have stood at a stove on the eve of an apocalypse flipping pikelets for the kiddie, or is that something she picked up from Gideon?
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milliebobbyflay · 1 year
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paired with their often intimate and violent subject matter, i find the incidental way tamsyn muir frames women and their bodies throughout the locked tomb series to be refreshing bordering on radical
consider harrowhark; in the first book we see her as gideon sees her. she's a hideous ghoul with a flat ass and no tits, she's a delicate sopping wet beauty with a sharp face and angel bow lips, she's a triumphant and awe inspiring master necromancer screaming and fighting drenched in her own blood. the shape and condition of her body is allowed to take on meaning contextually based entirely on the situation and how gideon feels about their relationship in any given moment
she then spends the second book hobbling around with a sword twice her size, ripping apart her body to use as a weapon and passing out in her own vomit, struggling to eat and sleep – she and puts herself through absolute hell and never once thinks anything of it, and we're made to mourn this not as the desecration of a beautiful woman but as a manifestation of a human being's despair and self loathing, and we see this specifically contrasted against the care gideon tries to take when inhabiting her body during the last act
it's jarring, in nona, when we're suddenly made aware that her body could be perceived or valued as a commodity, when pyrrha is assumed to be nona's pimp. it feels strange and horrifying when we learn alecto's form was modeled for a doll, learn that she was given a woman's body as a display of ownership, an alternative to being consumed, and as we're processing this we watch gideon, paul, and ianthe, immediately setting aside their conflict in a desperate scramble to preserve harrow's body for no reason other than because it is harrow's and they love her
feminist fiction often focuses on women's relationship to a body which is valued more than the person within it – and that is a worthy experience to explore – but as a transsexual butch(ish) dyke, i have never really had the privilege of seeing my body as a precious commodity, never felt like it couldn't or shouldn't be a sight of violence and disgust, and as a result the locked tomb books have made me feel seen in a way that few other works of fiction have?
we as an audience are not made aware of how attractive any character would be outside of the context of our lesbian POV characters' perspectives, their relationship to patriarchal beauty standards is an utterly irrelevant detail we're never told and only occasionally glimpse through implication. the women in the locked tomb books are simply free to exist, to have experiences and feelings, to love and hate and grieve and suffer and die like anybody else, and to have those experiences reflected in their physical vessels
it's a perspective that's so fundamental and obvious that to praise muir for it for it feels almost patronizing, but i also think it's a huge part of what's made the series so resonant for so many queer women and i feel that that's worthy of highlighting and celebrating
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direquail · 3 months
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I think what bothers me most about how John is talked about in the fandom is the implication that a different (implied: better) person would've done things differently and somehow more right than he did.
When the text goes to lengths to explore how suddenly coming into an incredible amount of power in a fatally constrained situation cannot lead to a good outcome.
If you're putting John in dialogue with the concept of the "magical girl", which Muir has said he is (a little tongue in cheek, but)--these are young, often profoundly unready people, who often get taken advantage of by the people who give them their powers. And like, yes, John is not a teenager, but I think that's part of the point, is that at no point is a person really prepared to become as powerful as he did--even before he merged with Alecto. Even when he was fully in control of his powers, even when they were given with honest intent and trust, even when he used them with the best of intentions and tried to do the right thing, there was no way for him to be prepared, especially given the situation he was in.
And it's funny to talk about how bad John must be in bed, but also, this isn't a scenario where John is some self-deluding Elon Musk-like villain or loser. He is genuinely trying to do the right thing, in terms of rescuing the Earth's population, rescuing the Earth Herself, and doing it ethically (see: M--'s insistence that they perfect the cryo containers until they could transport pregnant women).
I really do think this is something people are blocking out, because it is one of the uncomfortable parts of Muir's message with the series. But ESPECIALLY because the people "critiquing" him as an embodiment of patriarchy and empire are failing to see that part of Muir's critique is of human vulnerability to power: That is, that power corrupts.
And this even has echoes with Gideon & Harrow's story! Harrow begins the series in a deeply unequal dynamic with Gideon! And she does horrible things, not just because she is traumatized, but because she is traumatized and has the power to act her desires out on Gideon. She might have the motive (trauma), but that's not enough without the means (power).
And, yeah, I do have a semi-salty angle on this because people are frequently loath to think critically not just about axes of oppression but individual relationships of power when it applies to them and to people they like. ESPECIALLY when there is a very vocal segment of the fandom that is enthusiastically pro-harassment. It's very convenient to villainize John and actively dis-identify with him, because otherwise, you'd have to face the question of whether you'd do any better in his place. But the thing is, the mission of revenge he embarks on is a lot closer to many peoples' hearts than they'd like to consider.
That's the whole point.
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thepotatofrog · 1 year
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Nobody does “haunting the narrative” quite like Tamsyn Muir. Characters who died ten thousand years ago and still irreparably alter the fabric of the universe, who we’re still wondering about and obsessing over. Cristabel, Anastasia. Characters like Nigella, Loveday, Alfred, Samael - characters who we barely know a thing about, but who haunt the story in the things they left behind, the people they left behind, the people who knew them and loved them and hated them. They’ve got civilisations founded for them, a single word of their personality lives on in the names of the people they died for. Joy. Patience. “Love is a revenant” indeed. We watch our characters walk the empty rooms they once lived in, read the words they left to outlast them, dress in their clothes which are too big or too small.
Dulcinea Septimus, dead before we meet her, collateral damage in life and in death, sick of roses and horny for revenge. Ortus Nigenad is dead in act one, gone and unimportant, and then he changes the course of the second book. We only get to know him properly after his death, like Protesilaus, like Dulcie. Then there’s Awake Remembrance Of These Valiant Dead, taking the haunting literally. (Not to mention Gideon and the Body)
It makes sense that a series about necromancy would have plenty of haunting but god it’s done well
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