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A "small" summarization of the lyctoral process in the locked tomb series. Warning, spoilers and theories.

The term "lyctor" is used primarily to describe a person who has completed a certain necromantic transformation in a partnership which dramatically increases their power. However, by the end of Nona we can distinguish three distinct varieties of this process which I will hereby call "lysis" (not to be confused with the medical term of the same name from which this is derived). I will be calling these types of lysis "mutually consumptive lysis", "subordinating lysis", and "mutually destructive lysis". Each type has explicit descriptors, differences, and poetic meaning within the text of the books. I will discuss these in order.

Mutually Consumptive Lysis

Mutually consumptive lysis, sometimes called "perfect [lysis]", is the process undergone by John. John's description of his experiences and this process are hardly detailed and so much is left to speculation. What remains clear is that, like other lysis processes, there is a degree of most of the processes in common (again, John's descriptions leave most up to interpretation so I may be missing some) with other forms of lysis. First step is preservation, both parties (to some degree) are exposed to a preserving power; in John's case this seems to be exposure to experimental cryo fluid due to rushed R&D on the cryo project (implied). Analysis, not necessarily of the two parties but of the connection between them and natural feeling of the connection and what power it grants or is desired through it; in John's case this is likely the deep connection he has with several of the cadavers in his lab and the deep personal drive he is implied to have with Gaia that motivates his work. Transference in this case is hypothetically a mutual process but may be one sided, as it involves the utilization of the power from one or both partners in the process by the other; in the case of John and Gaia this was likely John utilizing the power of Gaia's suffering to gain necromantic abilities and Gaia's influence over John that guides his political agenda. Fixation and incorporation are part of the same step of rapid death and consumption; consumption both literal and metaphorical in this way set this lysis apart from others in particular, as John literally spilled his body into the earth and ate the earth in turn. The consummation step is a sort of marriage where each party in the process levels with the other, elevating of diminishing both parties to equal station; John becoming a "god" and Gaia becoming human (Alecto). Consummation and reconstruction are more or less simultaneous here, as far as we can tell, because the power disparity between Gaia and John was great enough that both had to be at least in part reconstructed to disperse the immense power of Gaia. The final step is a continued effect of the process in which both parties hypothetically take and give to the other; while John takes greatly from Alecto it is unclear what Alecto takes from John, though it is likely a portion of his humanity.

Poetically this process is suited specifically for John and Gaia/Alecto alone. They both shared a sort of mutual obsession with punishing humanity, as they both expressed a significant vindictive pain near the end of the planet's natural life. This pain caused Gaia to reach out and understand why they were being destroyed and to seek retribution on their destroyer while John sought power to deliver retribution on those he deemed as the destroyers and the selfish. This mutual obsession causes both John and Gaia to consume each other literally and metaphorically. Gaia consuming John furthers his vindictive campaign against the FTL project and strips away his humanity and leads to his acceleration if the planet's destruction. John's consumption of Gaia does much the same but also grants him inhuman abilities which causes him to take on an inhuman role and commit acts of murder and violence on individuals and populations. This mutual consumption results in John and Alecto being the last two remaining beings on a planetary corpse, their desire for vengeance leaving them essentially alone with their enablers.

This form of lysis is, hypothetically the most potent. However, it also has the potential to be the weakest. It creates an equilibrium between two individuals, weakening or strengthening either until they are at the same level. When performed as John and Gaia did this, it gives John immense power because Gaia was extraordinarily powerful and weakens Gaia a great deal. However, had this been performed by two individuals of roughly equal power it would result in a lyctor of average power or weaker. It is entirely possible that the process undergone by Anastasia and Samael was the actual mutually consumptive lysis (perhaps without the cannibalism, but who knows) with their failure resulting from their relatively diminutive power or other factors they were unable to replicate due to the unique relationship between John and Gaia/Alecto. It is possible that only two necromancers make take part in this process, as Alecto seems capable of at least some necromantic abilities in her human (from what little has been seen) form and seems to have granted John his necromantic abilities as Gaia.

Subordinating Lysis

Subordinating lysis is the process we know the most about and so will receive the least description. Frequently called either the eightfold word or the lyctoral mega-theorem, this process subordinates the soul of a cavalier to a necromancer and produces a lyctor of great power. This is the process undertaken by the lyctors in the book, namely the first of the saints undying and the second generation of penitents (Ianthe and Harrow). The process of subordination kills the necromancers cavalier and uses their soul as an eternal battery, grants the necromancer much of the physical expertise of the cavalier, grants the necromancer extraordinary regenerative capabilities, and expands the necromancers capacity for necromancy to the a seemingly penultimate level.

Despite the apparent replicability of this process, there are several things which can be altered while still achieving a similar or effectively the same result. Compartmentalization, for one, allows the cavaliers mind (or likely a copy of it) to live on in the subconsciousness of the necromancer; this occured with Pyrrha and G1deon--and after the death of G1deon's soul, Pyrrha (or the copy of her mind that existed in G1deon's subconscious) remained behind and inhabited G1deon's body and presumably reclaimed her soul in the process. Something appears to have gone wrong with Ianth's lysis, though this remains to be seen; she seems to refer to Naberius, her absorbed cavalier, in the present tense as though they consciously shared their lyctoral body to a degree. The combination of minds in a lyctor is common, as the abortion leaves vestiges of the cavalier, but Gideon's mind faded within Harrow's consciousness within weeks (possibly hours) while Ianthe seems to have preserved Naberius for nearly two years. While Harrow underwent elective lobotomy to preserve all remnants of Gideon she could, Ianthe seems to not have undergone such a process. Ianthe's case may be special, as stated, however she may also be manifesting symptoms of a stress induced personality disorder or other mental illness.

The poetry of the subordinating lysis varies in detail from lyctor to lyctor, but often boils down having to sacrifice the thing for which you intend to gain power for. Most necromancers share a special bond with their cavaliers which makes them hesitant to effectively kill them in order to gain power. Several of the second generation of penitents refuse lyctorhood, as they refuse to sacrifice their cavalier. It seems the only truly willing necromancers were Ianthe and one or two other original generation of lyctors. Those that are unwilling are coerced, being told that this must be done. Regardless, by undergoing this process, the necromancer becomes at once extremely powerful and also victim to John's machinations (and loneliness).

Unlike other forms of lysis, subordinating lysis may actually be reversible. However reversing the process requires an extraordinary effort and either extra steps taken early on or must be performed almost immediately.

Mutually Destructive Lysis

This process is, counterintuitively, perhaps the most positive form of lysis. There is only one example of this, Palamedes and Camilla's creation of Paul. Like mutually consumptive lysis it requires two consenting parties (which subordinating lysis does not). Unlike mutually consumptive lysis is does not constantly degrade both parties into a mutually enabling relationship. And like subordinating lysis, the process only creates one individual. However, unlike subordinating lysis, the mutual consent of both parties does reduce some of the psychological distress of lysis. Unlike either of the other forms of lysis, mutually destructive lysis kills both participating parties entirely. This is, however, seemingly a net good.

While the process of mutually destructive lysis is more or less the same as subordinating lysis, there is a key difference in that it is performed on both parties; both parties are absorbed into the resulting entity. Two souls, two bodies, two minds combined into one. This requires the physical and metaphorical death of both instigating parties.

It is unclear how powerful, comparatively, the result of mutually destructive lysis is. Such a creation may well be weaker than either other form; however, like other forms of lysis, mutually destructive lysis seems to create an individual with the memories, skills, and capabilities of both instigating persons while also creating essentially a whole new person (mind, personality, soul). It is also unclear if this process can be replicated; as Palamedes and Camilla's circumstances are unique in the lead up to the creation of Paul. Hypothetically, any two persons could undergo this process as long as at least one participant is a necromancer. because the process is mutually destructive it doesn't quite matter what the level if power and influence of either party is. It is also entirely possible that this (or a similar one) was the process that Anastasia and Samael initiated and John interceded in.

Poetically, mutually destructive lysis is a foil to mutually consumptive lysis. Whereas the mutually consumptive relationship represents possibly the worst form of a partnership (a codependent dysfunctional marriage), the mutually destructive relationship forms a hypothetical possible best case (selfless procreation). This isn't absolutely the best outcome, because that's subjective, but the creation of something new through the putting away of selfish desires is admirable. While it could be argued that John and Gaia loved each other, it was not a sort of love that is positive or healthy and their ultimate goal was destructive and selfish; and this is reflected nature is reflected in their lysis. Conversely, Palamedes had (arguably) a positive loving relationship where both parties cared for and held a shared sense of responsibility and duty to each other; and this is reflected in the nature of the lysis which they performed. It is tragic in its own way, but represents and act of love and selflessness where both parties agree to destroy themselves to preserve the memory of the other.

I've also said before that physically and psychologically merging is a profound expression of romantic love and devotion. That is a personal opinion I could back up with some evidence but this is also already a really big post.

Misc

While this post is egregiously long, I also do want to talk about the reasons I've used these terms and why Muir used the terms she did.

Mutually consumptive refers to the continued consuming of both parties power. John constantly consumes Gaia/Alecto's power and Gaia/Alecto constantly consumes John's humanity (and likely other things). The relationship is inwardly indulgent, negative for all parties, and outwardly destructive.

Subordinating refers to how the necromancer in the relationship subordinates the cavalier's soul in the relationship. It is a mechanically abusive relationship and almost always negative. It is indulgent for the necromancer, neutral (depending on the parties and consent), and destructive for the cavalier.

Mutually destructive lysis is so named because it literally destroys both consenting parties. It is the only lysis which technically involves three individuals (though I don't exactly think there's a hard limit to the number of people that can be incorporated into lysis, and I'd be very interested to know what would happen if more people were involved). It also represents the annihilation if the self, as the process is inherently selfless. Inwardly destructive, outwardly indulgent, and neutral in effect. It's about the best thing to be hoped for in a setting like The Locked Tomb.

Lysis is a term that Muir used in Nona. It is used by Palamedes, describing the process as a "grand lysis" rather than what other lyctors have done. Now this is a medical term. Primarily it refers to the breaking down of cells by dissolving the cell membrane. It can also refer to the gradual termination of a disease (through that process) or the subsiding of symptoms of a disease. It is a typically slow process by which an intrusive life force is broken down and terminated. It's clear why Muir would have Palamedes use this term, it is clinical and it describes how he feels about his position as effectively a parasite living in Camilla's body. But it is also representative of breaking down the walls that separate him from Camilla. It is the destruction of the cell membrane, the part that closes the cell off and marks it as an individual organism. This is why I have used it as well, because all of these processes involve the incorporation of a second person or soul. It is a destructive process no matter how it happens, whether that be a literal or metaphorical destruction. It also doesn't hurt that it is also a "ly" word like lyctor, which I imagine also occured to Muir.

The worlds most normalest girl <3

(just finished the second book!)

by god

(found on reddit)

star fighter

i always thought that scene in the taz balance finale where merle reconnects with pan and casts zone of truth to burn away the hunger was kind of a tongue in cheek moment where clint casts his signature spell and griffin as the dm humors him by given it a huge affect. like fun but not too noteworthy. but i literally just realized what a phenomenal moment it really was. because the hunger is nihilism. it's hopelessness and pessimism. but the zone of truth dispels all lies and dishonesty. they cant exist under its spell. and that's what nihilism is. a lie. and so when merle cast zone of truth he burned away the lie of hopelessness and if you don't think that's the best thing ever i don't know what to tell you.

As a fresh Twitter refugee I offer you my Dimension 20 fanart 🤲

we’ll always have yesterday

remaster of an old piece. i’ll be at yeticon table L7 this weekend if you want to come say hi :^)

oh man i love your Renfield and Dracula art and you're taking requests??? can you draw Art with his three terriers? bonus if Lucy is included (but yeah, if you're not feeling like drawing multiple dogs, just Art is good. or just Art and Lucy. i love Art)

I love Art too, and to be honest I was already planning on doing this, so the ask just pushed me along into getting on with it. I did have to learn how to draw dogs, but that’s a useful thing to learn.

Also doing cute drawings where these characters can be happy before the true horrors take hold brings me joy.

I found a soft quietude come over me. Here I am, sitting at a little oak table where in old times possibly some fair lady sat to pen, with much thought and many blushes, her ill-spelt love-letter, and writing in my diary in shorthand all that has happened since I closed it last.

This segment gives me so much joy, but is a great example of what makes Jonathan incredibly unique among similar types of horror victims in Victorian literature.

A lot of academic analysis notes Jonathan’s traditionally feminine role in the early chapters of Dracula, but chalk it up to “the horror of emasculation”—that Dracula imposing femininity on Jonathan expresses the gender role anxiety of the time and is part of how Dracula terrorizes him.

But that’s just straight-up not how the book is written. Jonathan is comforting himself with his connection to the sweet, soft ladies of old, wishing he were writing love letters to his own love far away. He soothes himself with the image as a way to escape the horrors surrounding him. He encourages himself with the comparison to Shezerade and her cleverness earlier.

It’s the difference between “Jonathan is facing horrors traditionally imposed on female characters” and “the horrors INCLUDE the connection to female characters.” That distinction is enforced by how he, on his own, finds comfort and encouragement by thinking of himself among their number.

It’s a distinction that wouldn’t be obvious from just reading a summary of the story, which in all honesty seems to be what some academic analysis is working from.