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"The boys who...clung to me...hid their little faces in my skirts...dead so that I may sit upon a throne of swords."

sorry for the long absence, I didn't have the energy to keep up with many social networks, eh... I'll start posting my art here little by little! The first one — commission with Aemond and Lucerys in manga style 🖤🤍

#house of the dragon #aemond targaryen #lucerys hotd #lucemond #HOTD #aemond one eye #commissions #artists on tumblr

Time Travel Fic: HOTD

After Lucerya falls into the ocean and drowns, she's taken in by the Stranger who shows her the past (Otto making Alicent visit the king and 'offer him comfort'), the present (her family's reaction to her death) and the future of House Targaryen (Daenerys Targaryen). The Stranger gives her a mission to fix her house so House Targaryen doesn't die out. Lucerya wakes up in DragonStone a few days AFTER taking out Aemond's eye and gets to work. She asks Daemon to train her with Rhaena and Baela so they aren't helpless. Lucerya asks her mother for more dragon riding tips and devours every book she finds relating to House Targaryen. She writes letters full of apologies to Aemond hoping to reconcile with him and get back on her good side because they used to be friends before the pig incident and taking his eye out. *cue wince. He doesn't reply obviously but Lucerya has dragon's blood in her veins and is stubborn so she writes to him daily.Years have passed and she's improved with her sword training so that she can disarm even Daemon Targaryen, her bond with Arrax has improved as well as her dragon riding and her letters to Aemond still haven't stopped. The day she goes back to King's landing for the trial and the dinner, she goes to her Grandfather Viserys's chambers to speak to him. Basically, the conversation: GRAMPS ME AND AEMOND TECHNICALLY GOT MARRIED THE DAY I TOOK HIS EYE OUT. Viserys who wants payback on Rhaeynra and Daemon and peace in his family: YES GRANDDAUGHTER LET'S GASLIGHT THEM ALL INTO THINKING YOU AND AEMOND GOT MARRIED THAT DAY. At the dinner, Viserys stands up and announces how happy he is that the young couple, Lucerya and Aemond are reunited after so long apart. Cue Horrified Looks from everyone in the room. Lucerya plays her part and stands, thanking her grandfather for the nice speech and talking about how wonderful it is to see her husband again. Aemond has had enough and basically demands what games Lucerya is playing. LUCERYA: GASLIGHT, GATEKEEP, GIRLBOSS. AEMOND: MANSPLAIN, MALEWIFE, MASNLAUGHTER. So Lucerya explains how the House of Targaryen marriages work. (SHE IS LYING OUT OF HER ASS RN BUT SHE'S APPLYING THE FIRE AND BLOOD TRADITION TO HER LIES SO IT SOUNDS REAL) Basically, the blood of the two getting married is spilt or cut or ripped out from each other- blood is taken. In this case, the blood he spilt from breaking her nose and the blood she spilt from taking out his eye. And the dragons of the two getting married breathe fire. In their case, Vhaghar and Arrax. But they were too young to consummate the marriage and tensions were HIGH at the moment so Viserys kept them apart and now they're back so they can get married properly YAYYYYYY

Commission

Analyzing the Flight of the Targaryen Icarus: Jacaerys Velaryon & Lucerys Velaryon

The tragedy of Jacaerys Velaryon is not that he lacked the caution of Daedalus, but that he was forced to wear wings crafted from the ash of a burning house. In House of the Dragon, Jace is the architecture of an idealized future duty-bound, hyper-rational, and desperate to prove that the blood in his veins is as pure and golden as the crown he is meant to inherit. Where the classical Icarus is undone by the sudden, intoxicating ecstasy of ascension, Jacaerys is undone by the gravity of his own illegitimacy. He does not fly toward the sun out of reckless arrogance; he flies toward it because he believes the heat of the throne is the only thing that can incinerate the whisper of "Strong" that follows him like a shadow. His flight is a calculated, breathless sprint to outrun a biological truth, making his ascent less an act of hubris and more a heartbreaking act of survival.

In the structural poetry of their downfalls, both youths turn the sky into a theater of catastrophic vulnerability. For Icarus, the mythic failure lies in the medium of his ascension the fragile wax that binds his agency. For Jacaerys, the medium is Vermax, a living engine of fire that ultimately functions as a pair of biological wings tethered to a fragile human spine. When Jace descends into the choking smoke of the Battle of the Gullet, he mirrors the precise moment the sun kisses the wax. He forgets that dragons, for all their apex majesty, are still flesh and blood when dragged into the mundane mathematics of human warfare. The scorpion bolts do not just pierce a dragon: they puncture the illusion of Targaryen divinity. The sky, which was supposed to be Jace’s birthright and sanctuary, becomes the very anvil upon which his mortality is shattered, transforming his final flight into a breathless descent through a lattice of iron and ash.

To truly understand Jace’s descent, one must recognize that his flight was haunted by the ghost of his younger brother, Lucerys, the first Icarus of this broken house. Luke’s fall over Shipbreaker Bay was the terrifying prologue to Jace’s own fate, a horrific demonstration of what happens when children are sent to do the work of gods on the backs of beasts they cannot truly control. While Jace fell in the hot, industrial chaos of war, Luke was swallowed by the cold, primordial terror of a stormy sky, his small dragon Arrax snapped like a twig by the ancient, monstrous maw of Vhagar. Luke was the innocent Icarus, a boy who never wanted to fly so high, who only wished to deliver a message and return home, but who was ultimately dropped from the heavens like torn parchment. His death set the terrifying precedent for Jace: it proved that the sky was no longer a sanctuary of royal privilege, but a slaughterhouse where the flesh of Targaryen children melts into the sea.

Ultimately, both narratives function as an autopsy of a parent's ambition, leaving behind a Daedalus condemned to look at the sky and see only a cemetery. Rhaenyra Targaryen, like the mythic inventor, constructed the labyrinth of political defiance that required her children to fly in the first place, only to watch the heavens reclaim them one by one. When Luke is torn apart in the clouds and Jace is stitched into the cold waves by a rain of crossbow bolts, the narrative spine of the Blacks does not just fracture it dissolves. The profound tragedy of these two brothers is that they were both undone by the architectural flaws of the fractured world built for them. In the end, Jace and Luke leave the same haunting silhouette against the collective memory: two beautiful, over-burdened sons who proved that no matter how high a child flies to honor their lineage, the sky has absolutely no mercy for the creations of desperate parents.

The fundamental horror of this Targaryen adaptation of the Icarian myth lies not in the fall itself, but in the grim realization that the sea Jace and Luke plummet into is not an indifferent, natural void it is the liquid mirror of the Iron Throne itself. For generations, Valyrian exceptionalism claimed that to mount a dragon was to transcend humanity, to become a creature of pure ether, light, and sky. Yet, by plunging these boys back into the crushing, liquid dark, the narrative staging executes a radical, theological demotion: it reveals that the Targaryen monopoly on fire was always an artificial heist, a borrowed sun. When the sea swallows Jacaerys and Lucerys, it does not merely drown two bastard princes; it reclaims the stolen heat of Valyria, cooling the mythic dragon-blood back into mundane, silent salt. George R.R. Martin built a world of "Fire & Blood," but the architectural tragedy of House of the Dragon argues something far more devastating that water is the ultimate arbiter of history. The lineage that claimed to rule the skies ends up anchoring the ocean floor, proving that the crown they flew so high to protect was never an instrument of salvation, but merely the heavy, golden stone that ensured they could never float back to the surface.