#PERCY WROTE HIS OWN STORY

[autism-alley]

look obviously i don’t know the guy but i feel like 2009 rick riordan would fist fight 2024 rick riordan

[mask131]

The truth about Medusa and her rape... Mythology breakdown time!

With the recent release of the Percy Jackson television series, Tumblr is bursting with mythological posts, and the apparition of Medusa the Gorgon has been the object of numerous talks throughout this website… Including more and more spreading of misinformation, and more debates about what is the “true” version of Medusa’s backstory.

Already let us make that clear: the idea that Medusa was actually “blessed” or “gifted” by Athena her petrifying gaze/snake-hair curse is to my knowledge not at all part of the Antique world. I still do not know exactly where this comes from, but I am aware of no Greek or Roman texts that talked about this – so it seems definitively a modern invention. After all, the figure of Medusa and her entire myth has been taken part, reinterpreted and modified by numerous modern women, feminist activist, feminist movements or artists engaged in the topic of women’s life and social conditions – most notably Medusa becoming the “symbol of raped women’ wrath and fury”. It is an interesting reading and a fascinating update of the ancient texts, and it is a worthy take on its own time and context – but today we are not talking about the posterity, reinvention and continuity of Medusa as a myth and a symbol. I want to clarify some points about the ACTUAL myth or legend of Medusa – the original tale, as told by the Greeks and then by the Romans.

Most specifically the question: Was Medusa raped?

Step 1: Yes, but no.

The backstory of Medusa you will find very often today, ranging from mythology manuals (vulgarization manuals of course) to Youtube videos, goes as such: Medusa was a priestess of Athena who got raped by Poseidon while in Athena’s temple, and as a result of this, Athena punished Medusa by turning her into the monstrous Gorgon.

Some will go even further claiming Athena’s “curse” wasn’t a punishment but a “gift” or blessing – and again, I don’t know where this comes from and nobody seems to be able to give me any reliable source for that, so… Let’s put this out of there.

Now this backstory – famous and popular enough to get into Riodan’s book series for example – is partially true. There are some elements here very wrong – and by wrong I do mean wrong.

The story of Medusa being raped and turned into a monster due to being raped does indeed exist, and it is the most famous and widespread of all the Medusa stories, the one people remembered for the longest time and wrote and illustrated the most about. Hence why Medusa became in the 20th century this very important cultural symbol tied to rape and the abuse of women and victim-blaming. HOWEVER – the origin of this story is Ovid’s Metamorphoses, from the first century CE or so. Ovid? A Roman poet writing for Roman people. “Metamorphoses”? One of the two fundamental works of Roman literature and one of the two main texts of Roman mythology, alongside Virgil’s Aeneid. This is a purely Roman story belonging to the Roman culture – and not the Greek one. The story of Medusa’s rape does not have Greek precedents to my knowledge, Ovid introduced the element of rape – which is no surprise given Ovid turned half of the romances of Greek mythology into rapes. Note that, on top of all this, Ovid wasn’t even writing for religious purposes, nor was his text an actual mythological effort – he wrote it with pure literary intentions at heart. It is just a piece of poetry and literature taking inspiration from the legends of the Greek world, not some sort of sacred text.

Second big point: The legend I summarized above? It isn’t even the story Ovid wrote, since there are a lot of elements that do not come from Ovid’s retelling of the story (book fourth of the Metamorphoses). For example Ovid never said Medusa was a priestess of Athena – all he said was that she was raped in the temple of Athena. I shouldn’t even be writing Athena since again, this is a Roman text: we are speaking of Minerva here, and of Neptune, not of Athena or Poseidon. Similarly, Minerva’s curse did not involve the petrifying gaze – rather all Ovid wrote about was that Minerva turned Medusa’s hair into snakes, to “punish” her because her hair were very beautiful, and it was what made her have many suitors (none of which she wanted to marry apparently), and it is also implied it is what made Neptune fall in love (or rather fall in lust) with her. I guess it is from this detail that the reading of “Athena’s curse was a gift” comes from – even though this story also clearly does victim-blaming of rape here.

But what is very fascinating is that… we are not definitively sure Neptune raped Medusa in Ovid’s retelling. For sure, the terms used by Ovid in his fourth book of Metamorphoses are clear: this was an action of violating, sexually assaulting, of soiling and corrupting, we are talking about rape. But Ovid refers several other times to Medusa in his other books, sometimes adding details the fourth-book stories does not have (the sixth book for examples evokes how Neptune turned into a bird to seduce Medusa, which is completely absent from the fourth book’s retelling of Medusa’ curse). And in all those other mentions, the terms to designate the relationship between Medusa and Neptune are more ambiguous, evoking seduction and romance rather than physical or sexual assault. (It does not help that Ovid has an habit of constantly confusing consensual and non-consensual sex in his poems, meaning that a rape in one book can turn into a romance in another, or reversal)

But the latter fact makes more sense when you recall that the rape element was invented and added by Ovid. Before, yes Poseidon and Medusa loved each other, but it was a pure romance, or at least a consensual one-night. Heck, if we go back to the oldest records of the love between Poseidon and Medusa, back in Hesiod’s Theogony, we have descriptions of the two of them laying together in a beautiful, flowery meadow – a stereotypical scene of pastoral romances – with no mention of any brutality or violence of any sort. As a result, it makes sense the original “romantic” story would still “leak” or cast a shadow over Ovid’s reinvented and slightly-confused tale.

Step 2: So… no rape?

Well, if we go by Greek texts, no, apparently Medusa was not raped in Greek mythology, and only became a rape victim through Ovid.

The Ancient Greek texts all record Poseidon and Medusa sleeping with each other and having children, but no mention of rape. And the whole “curse of Athena” thing is not present in the oldest records – no temple of Athena soiling, no angry Athena cursing a poor girl… “No curse?” you say “But then how did Medusa got turned into a Gorgon”? Answer: she did not. She was born like that.

As I said before, the oldest record of Medusa’s romance but also of her family comes from Hesiod’s Theogony (Hesiod being one of the two “founding authors” of Greek mythology, alongside Homer – Homer did wrote several times about Medusa, but only as a disembodied head and as a monster already dead, so we don’t have any information about her life). And what do we learn? That Medusa is part of a set of three sisters known as the Gorgons – because oh yes, Ovid did not mention Medusa’s sister now did he? How did Medusa’s sisters ALSO got snake-hair or petrifying-gaze if only Medusa was cursed for sleeping with Neptune? Ovid does not give us any answer because again, it is an “adaptational plot hole”, and the people that try to adapt Ovid’s story have to deal with the slight problem of Stheno and Euryale needing to share their sister’s curse despite seemingly not being involved in the whole Neptune business. Anyway, back to the Greek text.

So, you have those three Gorgon sisters, and Medusa is said to be mortal while her sisters are not. Why is it such a big deal? Because Medusa wasn’t originally some random human or priestess. Oh no! Who were the Gorgons’ parents? Phorcys and Keto/Ceto, aka two sea-gods. Not just two sea-gods – two sea-gods of the ancient, primordial generation of sea-gods, the one that predated Poseidon, and that were cousins to the Titans, the sea-gods born of Gaia mating with Pontos.

So the Gorgons were “divine” of nature – and this is why Medusa being a mortal was considered to be a MASSIVE problem and handicap for her, an abnormal thing for the daughter of two deities. But let’s dig a bit further… Who were Phorcys and Ceto? Long story short: in Greek mythology, they were considered to be sea-equivalents of Typhon and Gaia. They were the parents of many monsters and many sea-horrors: Keto/Ceto herself had her name attributed and equated with any very large creature (like whales) or any terrifying monster (like dragons) from the sea. The Gorgons themselves was a trio of monsters, but their sisters, that directly act as their double in the myth of Perseus? The Graiai – the monstrous trio of old women sharing one eye and one tooth. Hesiod also drops the fact that Ladon (the dragon that guarded the golden apples of the Hesperids), and Echidna (the snake-woman that mated with Typhon and became known as the “mother of monsters”) were also children of Phorcys and Ceto, while other authors will add other monster-related characters such as Scylla (of Charybdis and Scylla fame), the sirens, or Thoosa (the mother of Polyphemus the cyclop). Medusa herself is technically a “mother of monsters” since she birthed both Pegasus the flying horse and Chrysaor, a giant. So here is something very important to get: Medusa, and the Gorgons, were part of a family of monsters. Couple that with the absence of any mention of curses in these ancient texts, and everything is clear.

Originally Medusa was not a woman cursed to become a monster: she was born a monster, part of a group of monster siblings, birthed by monster-creating deities, and she belonged to the world of the “primordial abominations from the sea”, and the pre-Olympian threats, the remnants of the primordial chaos. It is no surprise that the Gorgons were said to live at the edge of the very known world, in the last patch of land before the end of the universe – in the most inhuman, primitive and liminal area possible. They were full-on monsters!

Now you might ask why Poseidon would sleep with a horrible monster, especially when you recall that the Greeks loved to depict the Gorgons as truly bizarre and grotesque. It wasn’t just snake-hair and petrifying gaze: they had boar tusks, and metallic claws, and bloated eyes, and a long tongue that constantly hanged down their bearded chin, and very large heads – some very old depictions even show her with a female centaur body! In fact, the ancient texts imply that it wasn’t so much the Gorgon’s gaze or eyes that had the power to turn people into stone – but that rather the Gorgon was just so hideous and so terrifying to look at people froze in terror – and then literally turned into stone out of fear and disgust. We are talking Lovecraftian level of eldritch horror here. So why would Poseidon, an Olympian god, sleep with one of these horrors? Well… If you know your Poseidon it wouldn’t surprise you too much because Poseidon had a thing for monsters. As a sort of “dark double” of Zeus, whereas Zeus fell in love with beautiful princesses and noble queens and birthed great gods and brave heroes, Poseidon was more about getting freaky with all sorts of unusual and bizarre goddesses, and giving birth to bandits and monsters. A good chunk of the villains of Greek mythology were born out of Poseidon’s loins: Polyphemus, Antaios, Orion, Charybdis, the Aloads… And even his most benevolent offspring has freaky stuff about it – Proteus the shapeshifter or Triton half-man half-fish… So yes, Poseidon sleeping with an abominable Gorgon is not so much out of character.

Step 3: The missing link

Now that we established what Medusa started out as, and what she ended up as… We need to evoke the evolution from point Hesiod to point Ovid, because while people summarized the Medusa debate as “Sea-born monster VS raped and punished woman”, there is a third element needed to understand this whole situation…

Yes Ovid did invent the rape. But he did not invent the idea that Medusa had been cursed by Athena.

The “gorgoneion” – the visual and artistic motif of the Gorgon’s head – was, as I said, a grotesque and monstrous face used to invoke fright into the enemies or to repel any vile influence or wicked spirit by the principle of “What’s the best way to repel bad stuff? Badder stuff”. Your Gorgon was your gargoyle, with all the hideous traits I described before – represented in front (unlike all the other side-portraits of gods and heroes), with the face being very large and flat, a big tongue out of a tusked-mouth, snake-hair, bulging crazy eyes, sometimes a beard or scales… Pure monster. But then… from the fifth century BCE to the second century BCE we see a slow evolution of the “gorgoneion” in art. Slowly the grotesque elements disappear, and the Gorgon’s face becomes… a regular, human face. Even more: it even becomes a pretty woman’s face! But with snakes instead of hair. As such, the idea that Medusa was a gorgeous woman who just had snakes and cursed-eyes DOES come from Ancient Greece – and existed well before Ovid wrote his rape story.

But what was the reason behind this change?

Well, we have to look at the Roman era again. Ovid’s tale of Medusa being cursed for her rape at the hands of Neptune had to rival with another record collected by a Greek author Apollodorus, or Pseudo-Apollodorus, in his Bibliotheca. In this collection of Greek myths, Apollodorus writes that indeed, Medusa was cursed by Athena to have her beautiful hair that seduced everybody be turned into snakes… But it wasn’t because of any rape or forbidden romance, no. It was just because Medusa was a very vain woman who liked to brag about her beauty and hair – and had the foolish idea of saying her hair looked better than Athena’s. (If you recall tales such as Arachne’s or the Judgement of Paris, you will know that despite Athena being wise and clever, one of her main flaws is her vanity).

“Wait a minute,” you are going to tell me, “The Bibliotheca was created in the second century CE! Well after Greece became part of the Roman Empire, and after Ovid’s Metamorphoses became a huge success! It isn’t a true Greek myth, it is just Ovid’s tale being projected here…” And people did agree for a time… Until it was discovered, in the scholias placed around the texts of Apollonios of Rhodes, that an author of the fifth century BCE named Pherecyde HAD recorded in his time a version of Medusa’s legend where she had been cursed into becoming an ugly monster as punishment for her vanity. We apparently do not have the original text of Pherecyde, but the many scholias referring to this lost piece are very clear about this. This means that the story that Apollodorus recorded isn’t a “novelty”, but rather the latest record of an older tradition going back to the fifth century BCE… THE SAME CENTURY THAT THE GORGONEION STARTED LOSING THEIR GROTESQUE, and that the face of Medusa started becoming more human in art.

[EDIT: I also forgot to add that this evolution of Medusa is also proved by strange literary elements, such as Pindar's mention in a poem of his (around 490 BCE) of "fair-cheeked Medusa". A description which seems strange given how Medusa used to be depicted as the epitome of ugliness... But that makes sense if the "cursed beauty" version of the myth had been going around at the time!]

And thus it is all connected and explained. Ovid did invent the rape yes – but he did not invent the idea of Athena cursing Medusa. It pre-existed as the most “recent” and dominating legend in Ancient Greece, having overshadowed by Ovid’s time the oldest Hesiodic records of Medusa being born a monster. So what Ovid did wasn’t completely create a new story out of nowhere, but twist the Greek traditions of Athena cursing Medusa and Medusa having a relationship with Poseidon, so that the two legends would form one and same story. And this explains in retrospect why Ovid focuses so much on describing Medusa’s beautiful hair, and why Ovid’s Minerva would think turning her hair into snake would be a “punishment fit for the crime”: these are leftovers of the Greek tale where Medusa was punished for her boasting and her vanity.

CONCLUSION

Here is the simplified chronology of how Medusa’s evolution went.

A) Primitive Greek myths, Hesiodic tradition: Born a monster out of a family of sea-monsters and monstrous immortals. Is a grotesque, gargoylesque, eldritch abomination. Athena has only an indirect conflict with her, due to being Perseus’ “fairy godmother”. Has a lovely romance with Poseidon.

B) Slow evolution throughout Classical Greece and further: Medusa becomes a beautiful, human-looking girl that was cursed to have snake for hair and petrifying eyes, instead of being a Lovecraftian horror people could not gaze upon. Her conflict with Athena becomes direct, as it is Athena that cursed her due to being offended by her vain boasting. Her punishment is for her vanity and arrogant comparison to the goddess.

C) Ovid comes in: Medusa’s romance with Poseidon becomes a rape, and she is now punished for having been raped inside Athena’s temple.

[As a final note, I want to insist upon the fact that the story of Medusa being raped is not less "worthy" than any other version of the myth. Due to its enormous popularity, how it shaped the figure of Medusa throughout the centuries, and how it still survives today and echoes current-day problems, to try to deny the valid place of this story in the world of myths and legends would be foolish. HOWEVER it is important to place back things in their context, to recognize that it is not the ONLY tale of Medusa, that it was NOT part of Greek mythology, but rather of Roman legends - and let us all always remember this time Poseidon slept with a Lovecraftian horror because my guy is kinky.]

EDIT:

For illustration, I will place here visuals showing how the Ancient art evolved alongside Medusa's story.

Before the 5th century BCE: Medusa is a full-on monster

From the 5th century to the 2nd century BCE: A slow evolution as Medusa goes from a full-on monster to a human turned into a monster. As a result the two depictions of the grotesque and beautiful gorgoneion coexist.

Post 2nd century BCE: Medusa is now a human with snake hair, and just that

[ma1dita]

My dearest sweetest moony

I, a daughter of Hypnos, just want to hold Luke close and let him sleep the best sleep he has ever had in his life, don't let Kronos talk to him or get close to my boy

1, a daughter of Hypnos, just want to help the campers sleep, help all of those kids get their desired rest

Please let this daughter of Hypnos help her children (the campers) and her husband (Luke)

🐥

(i wrote this request and another one but I didn’t put the 🐥 on them, should I send them to you again or not? Sorry about that darling, love ya, and again I’m really sorry for the inconvenience)

🐥🐥🐥🐥🐥

luke castellan x hypnos!reader

wc: 756

—

Honestly, Luke was starting to feel bad.

Every free moment he gets to spend with you, he’s been falling asleep. He fell asleep during your lunch picnic last week, sprawled out on the red and white checkered blanket—cheek against your lap as you read a book, on your shoulder at the bonfire last night even with Percy and Grover trying to screech out the lyrics to ‘Unwritten’, and even now as you brush through his curls as you read all of cabin 11 a bedtime story.

Luke knows that dating a daughter of Hypnos has some advantages for sure—you get to stay in the bunk next to his since you don’t have your own cabin, your dad blesses him with nice dreams for taking care of you, and everyone quiets down easier for the night as you project images of sheep for them to fall asleep to. But as he rubs his eyes to the sound of your calming voice, he reckons he’d punch the shit out of a sheep if another misty image of one decides to trot near the air of his bunk. You’re nestled against his arm, looking ethereal with moonlight shining against your cheekbones as you watch his eyelashes flutter slowly from the weight of his eyelids.

“You need to stop doing that, my dream girl.”

“Hmm?” you whisper, voice breathy like cool air. Yawning, you press your cheek against his bicep with a smile.

“Stop putting me to sleep. Wanna spend time with you,” he mumbles, trying to not wake the other campers.

“M’not doing anything, Lu. Besides, you’re cute when you’re asleep,” you chuckle, and his arms wrap around you tighter as his hands dip into his pajama pants you stole from his dresser.

“Are you saying I’m not cute now?” he pouts, reaching to tickle the skin that peeks out from under your shirt and you giggle. The sound of it is loud enough to echo across the cabin, but something extra must have been in your voice tonight because not a single camper stirs.

In a room full of people, the two of you share a moment that’s just for the both of you, watching each other quietly with soft loving smiles. Moving closer to his face, your lips press kisses into the lines that crease his forehead, the scar running down his cheek, the tip of his nose, and finally the plump of his pouting lips. He pulls you in deeper, smiling softly against your kiss that’s ever so gentle until he’s drifting off…

You don’t take offense to it though. Sleep is your gift bestowed to you by your godrent, and to share that with your love makes it the best gift of all.

—

Luke jolts up the next morning after his nose dips into his bowl of cereal. The nymphs and younger campers all chatter and giggle around you two as he grumbles, shoving another mouthful of now soggy Frosted Flakes into his mouth. You smile, stroking the hair at the nape of his neck, taking a bite of your waffle.

“You okay, baby?”

He huffs, kissing the back of your hand before you stand up to go and grab napkins. Annabeth rolls her eyes from across the table, which makes Luke toss a chunk of banana at her.

“What?”

“You’re too dramatic for your own good, Luke,” she sighs, stirring her iced coffee with a straw. She looks at him exasperatedly when he looks more confused by her statement, even if it’s the truth.

“I just feel like a bad boyfriend. Always falling asleep on her. Never do that with anyone else, and sometimes I think she does it on purpose…” he says, leaning against his palm.

“It’s the oxytocin,” Annabeth says, and Luke looks at her blankly, “Your brain releases oxytocin around people you love, and as a result you feel safe and at ease—which is why you keep falling asleep around her. So stop blaming your girlfriend!” She shakes her head like the old soul she is, getting up to clear her tray and leave Luke to his nonsense. You return to the table with a handful of napkins and a grin that instantly brightens his mood.

Rubbing at his eyes, he can see you more clearly and to your surprise, Luke pulls you by the chin for a kiss as he says thank you.

“What’s that for? Can’t be because of the napkins,” you giggle, and a dopey smile crosses his face.

“Because I love you, my dream girl. That’s all.”

[vagabond-umlaut]

it's easy to ferry souls, not carry them

deep down in the realm of the netherworlds, there exists a rower who transports deceased souls from the land of living to the land of dead-

and occasionally lends an ear and a hand, in the event of yet another collision between their weary queen and her just as cheery suitor...

[uraume deserves a raise.]

▸gojo satoru x fem!reader; the tale of kore!gojo & hades!reader w a guest appearance by charon!uraume; uraume is a very nice parental figure to you [ooc!uraume but ehh]; the reader is honestly so sweet and hot-tempered...; the cutest doggy cerberus too is there!!!!; gojo satoru must be his own warning...; uraume does not like gojo [no parent [blood-related or not] actually wld]; fire hazards; 2k wc

▸ i've nvr read percy jackson and wtv i wrote here is based on my shaky knowledge of greek myths and stuff 😁😁 anyways, this header's from pinterest, these dividers are by @benkeibear and the characters used ain't mine. pls do not plagiarize, translate or repost this. enjoy reading! ❤️

▸ belongs to series 'wreaths of asphodel' – same universe as the work 'hey, where is the pomegranate tree?' — but you can treat this as a stand-alone fic if you wanna!

"why is kore so set on marrying me, uraume?"

it isn't the ask itself which causes the rower to nearly lose grip of their oar– but the way it is spoken: soft, solemn and faintly tense. they look away from the endless expanse of the styx before, to find you staring at your reflection in the inky waters, features unnaturally crumpled.

uraume holds back a frown. "has her majesty considered asking the god the same?"

"i have asked him," you mumble, "but i did not receive any conclusive answer in return. the imp was being too vague– must be a trait learnt from those shifty nymphs always sticking to his side."

if your faithful follower detects anything except dislike in your words, they make no mention of it. merely humming as they continue to row the boat, "and may this servant know the question her majesty asked the god?"

"two," you mumble even more clumsily now; they take a beat to grasp it, too concerned by the way you drape yourself over the edge, nearly falling into the water as you say, "i asked him two questions— one, if he loves me; two, if he wants to have children should we get married."

shock must not be uraume's first reaction to these queries, yet it is— and for a moment, it isn't you sitting there anymore.

instead, it is a little girl, no older than seven or eight years, cherubic face fixed in a look of deep concentration and fascination while the rower narrates to her stories from times millennia ago–

only for the child to morph into a young lady– no, goddess– the very next beat... slouched under a regal cloak too heavy for her shoulders, under a royal crown too large for her head... that sweet innocence of childhood nothing but traces now, having been withered by the foul, dirty politics of those damned deities high up on that mountain—

"what answers did the olympian offer her majesty?"

"he said he would love me and sire my children if that is what i want— i asked if he wished anything out of our union— he said all he wanted is to be my husband–"

something between a frustrated sigh and an exhausted scoff erupts from you, becoming an opaque fog the moment it hits the frigid air of the underworld. uraume plucks the oar out the water to come sit next to you, letting the boat be driven by magic.

"you're worried," they state, forgoing all formalities in favour of giving you some much-needed comfort. you never much cared for stations anyways, quite unlike your elder brother, the former king.

"an unfamiliar friend poses more risk than a familiar enemy, uraume," you mutter, resting your head on their shoulder, "why do you think kore wishes to marry me so much, if not out of love or the prospect of the powerful offsprings we might beget?"

"marriage is not solely for love or for procreation," the rower starts to explain, mildly amused before it grows into sympathy at your baffled expression.

ah, they muse fondly, not unlike a parent watching their child witness the world seemingly the first time ever since they learnt to walk, you who presides over something as profound as death yet knows not of the trivialities of life...

"it can also be for many other reasons like–"

the remainder of the words skitter away from uraume— cerberus is playing with gojo.

the fierce guard of the netherworlds, the three-headed hound, loyal and dutiful to a fault: hades' dearest canine companion is frolicking with the god of life in a green meadow, that most certainly was not there so close to the stygian marsh, when they last—

"gojo is laughing," your remark draws them away from their musings, only to find a changed shadow over your countenance— pensive yet not thinking at all; almost as if you too are floating in the stale air of your kingdom akin the soft flower petals...

another ring of raucous laughter pierces the silence, mingled with a delighted series of barks— cerberus is busy licking gojo's face now, the olympian reduced to a puddle of giggles as he scratches behind the dog's ears.

his happiness so clear in the stretch of his grin and the crinkle of his eyes, very much the jarring contrast to the last time—

oh. oh, oh, oh–

"escape," the word leaves uraume in a sudden moment of realisation, as quiet as a breath but loud enough for you to whip your head back to face them, confusion engraved into your scowl. "escape?? what is that supposed to mean, eh?"

the rower feels their lips lift into an infrequent smile. "the god of life wishes to marry you to escape— from his mother, or from his many suitors, or perhaps from mount olympus itself."

"wha– how– hah," you breathe out a disbelieving little huff, "that is simply ridiculous. have you even heard yourself? that is ridiculous."

used to such resistance from yourself, even more from your brother, they move to state their points, only to beaten by you as you persist to speak.

"no one in their right mind will decide to come live in the underworld, no matter how overbearing their mother or insistent their suitors are. have you seen this place? it's too, too unlike the lushness of the earth or the grandeur of the heavens he has experienced. and–" you add, a harsh laugh accompanying it. "gojo satoru is a god. a fish might leave the water— but a god never steps a voluntary foot down that horrible mountain. never."

"but the olympian never truly lived on mount olympus," uraume says once they're sure you've completed your tirade, "and you are a goddess as well. why do you speak so ill of the heavens then?"

"why?" you echo the word. they nod, hoping you take the bait they've intended for you. you do.

"why, because that place is nothing but a shining apple with a rotten core!! everything is polished marble and glittering gold there. people constantly wave at each other, lavishing smiles and praises like there is no tomorrow. everything is so warm and bright— what a bunch of lies and liars!"

familiar fire burns in your aura, the immense heat making the waters erupt into boiling— uraume uses their powers to cool the river down, lest anything disturbs you.

you're too far gone in your rage to be shaken, however, continuing:

"but it never can hide the grime and dirt accrued beneath such shine and sheen. nor the vicious minds and crooked hearts of those deities up above– what lame excuses of gods and goddesses, hah. and you might think me to prefer the light and warmth up there— you will be sorely wrong, my dear uraume!! i much prefer the genuine darkness and frigidity of my beloved kingdom to the faux comfort of the awful mount olympus—"

"is there no possibility the god of life too despises mount olympus for these same reasons, milady?"

you open your mouth and close it, then open it again to let out a very aggrieved whine– momentarily transporting uraume to your younger days. the rower merely chuckles when you punch their arm lightly.

"you're the worst, uraume," you cry, getting up and moving to sit on the other end of the boat. the rower too rises but only to resume rowing the boat by the oar.

"you never spoke this way when sukuna was the ruler— only because his baby sister is the ruler now, and you think she is very stupid—"

"as much as i respect and revere lord sukuna, he wasn't one to listen to anyone else," uraume interrupts gently, "you do, though– which is why i spent so much time telling you this. i hope you did not mind."

"hey, no," you immediately wave away their concern with a wide grin, eliciting a smaller one from the latter, "i could never..."

another peal of laughter and barks rings through the otherwise-quiet. you abruptly trail off, the same conflicting expression from before on your face yet again. though not without a spark in your eyes, uraume notes, almost as if you're slowly learning how to solve the puzzle who is repeatedly offering himself to you.

uraume keeps the silence you initiate, choosing to row the boat while you keep staring at the assortment of hues near the stygian marsh...

until you call their name and declare, an odd firmness in your smile, "well then, it is decided. i shall allow gojo to stay here for as long as the god so wishes to, escaping whatever or whoever he is escaping. and i shall protect him from the latter, should it ever come for him."

a beat. your smile falls into something graver. "would it be better if i swore by the dread water of styx, uraume?"

"uh, um," the rower finds themselves at a loss of words, the first time in seemingly forever, and they have been around since titanomachy– but before they can recover themselves enough to formulate a proper reply, a giggly voice joins in—

"well, if my rose does that, i would consider myself the most blessed amongst all mortals and immortals!"

— and the waters surrounding the boat shoot upwards in a scathing geyser-like jet and steam— the ferocious queen of the netherworlds visibly torn between remorse and terror, as they offer uraume a stiff nod and gojo a horrified look, before vanishing in a wisp of fog.

the boiling waters of the river styx calm down only after a twenty-minute-long struggle by uraume, joined at the very end by gojo.

the latter looks positively delighted, when the former collapses to the bottom of the boat, exhausted beyond belief. "hey, charon. was that a result of your queen getting flustered by me, huh?"

yes, it was. it very much was, the sentences nearly slip past the tired rower's crumbling defences... until it hits them– who they serve, and who they don't.

uraume decides to throw back a glare and a lie. "her majesty was not flustered, lord kore. she was enraged at how you invaded the privacy of her weekly boat ride, intended to make her relax."

"oh, puh-lease," the god makes a face. the rower is certain he would have been punished in the pits of tartarus for all eternity, then some more were he to pursue you this way during your brother's reign, let alone disrespect you thus.

ignorant and insolent, he continues, "in few days time, i'll be allowed into the privacy of her living quarters; what is the privacy of her boat th—"

"you're lucky you did not make such outrageous remarks in front of the queen," uraume cuts him off, none too kindly nor gently, "if you did, her majesty would have certainly burnt you along with the boat to a crisp–"

"i know," comes the defeated reply within the instant. and while gojo is still not in uraume's good graces, the latter decides to notch him a level higher, considering the god of life accepts their queen's powers.

not many do.

he strikes a pathetically pitiful figure, uraume reckons, seeing him sit then slouch on the bench. "was she serious when she said she would protect me?"

your loyal subject nods, certain and solemn. "yes, she was. the queen is never careless when it comes to making promises."

"oh, that's reassuring," gojo says quietly— only to recline even further in the very next beat– an anguished, grating wail tearing from him to the stifling silence looming near the stygian marsh. uraume wonders if it is worth it to steer the boat towards acheron... then push him into its waters of woe...

they decide against it on catching the desperation worn by the god.

for all it is, it might nothing more than a ploy. yet something tugs at their mind to pause and listen when gojo howls, "why does my rose always scurry away after tilting my world on its axis? why does your queen always torment me like this, charon?"

uraume stares pensively at their face in the sacred waters of styx for a while. then heaves a mighty sigh.

certain, this exchange between the goddess of the dead and the god of life will impact not only your and gojo's respective worlds— but the general world and everyone else in it, as well.

did you know, in the actual greek myths, persephone was never called so before her marriage to hades? she got it only after, w the name meaning "bringer of death". her initial name was kore, referring to her being a maiden & the spring goddess.

the river styx was called the "dread river of oath" by homer– in both the iliad and the odyssey [greek epic poems], swearing by its waters is the "greatest and most dread oath for the blessed gods" -> this shows how serious the reader is towards ensuring gojo's safety and freedom, and how deeply this affects gojo as well [source: wiki 😇]

also: the reader is totally ready to jump into the water to swim away when she realises gojo was listening in on her conversations- but then she remembers she can js vanish away and so she does js tht— the queen of the underworld, and of escaping, hehe

also also: the reader is slightly jealous when she is talking of the shifty nymphs always sticking to gojo's side. [uraume identifies it; you think it is js your usual dislike to such frivolous things and ppl as flowers and nymphs etc.] [hades is emo imho 😊]

▸ masterlist

[burr-ell]

Putting Terms on the High Shelf: Main Character Syndrome

As I'm watching C2, one thing I've noticed about Caleb's various sidebars to talk to different people is that he's still very much involving them—the conversations reveal various different priorities not just for Caleb, but for the people he's talking with. Liam's RP is often geared toward encouraging character work out of the other players at the table; it's something you see with Vax early on, and it's very present with Caleb.

So I find the accusations and warnings of Liam having Main Character Syndrome, which started during C1 but really ramped up in C2, to be rather shallow. Look at the contrast between the tables during this:

and this:

In C1x27, Orion adds pressure to the cast's already-frayed nerves with him, compounded from previous incidents of bad behavior, by taking up several minutes of time purely to himself—his only interaction with anyone else at the table is to ask Keyleth for help with alchemy mechanics (fun fact, early Keyleth was into alchemy!). This included:

An attempt to buy 1500 mirrors to build a light array;

A request to his father to send in his home country's army to Whitestone; and

An attempt to combine a fog spell and a sleep spell after being told point blank that it was mechanically impossible

This was all very obviously an attempt to make himself the hero in what is clearly set up to be a Percy-centric arc. (Worth noting, for the record, is that up to this point Percy had actually had very little focus and largely kept himself in the background, while Tiberius had been in focus for most of the show's run up to that point.) Laura snarks that he's like the giant eagles in Lord of the Rings and can just do everything, and if you actually watch the clip that I've giffed above, Travis's tone is genuinely aggravated. This, by the way, is all after Tiberius was notably not present for Percy revealing his backstory to the rest of the party in episode 24; while everyone else voiced concerns for him and went down to his workshop to check on him, Tiberius largely ignored this and went off to do his own business.

That is a selfish player. That is selfish behavior and a clear example of someone who thinks the story should revolve around them. There are several reasons Orion was asked to leave, not just because he fudged his dice rolls.

C2x62 is a completely different story. None of the conversations Caleb has within that episode are just a way for Caleb to gain information; he's engaging with what the other people are doing. When he asks Nott and Jester about the letter they wrote to Astrid, he reveals a little about himself—something he is particularly reluctant to do with Jester—and they are given an opportunity to respond. His conversation with Beau gives time for both of them to check in on each other and where they're at and lets Beau give her own perspective on the politics of the Empire, the Cobalt Soul, and Xhorhas. The discussion with Fjord lets them both level with each other a little and does more work for Fjord's character, letting him open up about his insecurities and issues, than it does for Caleb's. Caleb is still initiating these conversations and he still gets something out of them, but both the players and the audience still get the benefit of the other characters pushing and pulling against that in response.

Like many terms that get thrown around in this circle ("player agency", "manipulating", "metagaming", "going dark", to name a few), Main Character Syndrome has been so misconstrued and warped to fit a heavily biased perspective as to be almost meaningless. Main Character Syndrome is not when a character initiates a lot of conversations, even if you personally don't like the conversations for whatever reason. Main Character Syndrome is not when a character chooses to take a risk or push a big red button, even if you personally don't like the choice for whatever reason. Main Character Syndrome is not when a character has an arc or aspect of lore heavily focused on them, even if you personally don't like the character for whatever reason. (Particularly considering that arc focus is entirely out of the player's control; Taliesin, Liam, and Laura did not in fact force Matt to focus a significant portion of each campaign's lore on Percy, Caleb, or Imogen's backstories respectively.)

Main Character Syndrome is specifically about player selfishness—it's a player inserting their character into scenes or roles where they do not logically belong in order to make them the center of the story, as we see with the example of Tiberius. The camaraderie at the current table versus what was going on back in 2015 does not suggest that anyone currently sees anyone else like that; everyone is laughing at the jokes made at someone's expense, and everyone is getting something to do. Your favorite character may not always be flashy or in focus all the time, but then again, you wouldn't want them to have Main Character Syndrome, would you?

[samwisethewitch]

What Non-Pagans Need to Know About Fiction Featuring Pagan Gods

In light of Marvel's Loki show dropping a second season and a new Percy Jackson series on the horizon, I want to say some things about how fandom spaces can be respectful of real-life pagan religion.

Let's get one thing out of the way: literally no one is saying you can't enjoy fiction that uses pagan gods and heroes as characters. No one is saying, "Stop writing stories about our gods." In fact, many ancient cultures wrote fiction about their gods -- look at Greek theater or the Norse Eddas. The act of writing fiction about the gods is not offensive in itself.

But please remember that this is someone's religion.

The gods are not "just archetypes." Their myths are not "just stories." Their personalities are not a matter of artistic interpretation. For many pagans, the gods are very much real in a literal sense. I don't think Thor is a metaphor or a symbol -- for me, Thor is a real, autonomous spiritual being who exists outside of human perceptions of him, and who I have chosen to build a relationship with. Even if you are a hardcore atheist, I would hope you could at least be respectful of the fact that, to many modern pagans, the gods are both very real and very important.

When authors are not respectful of this fact, they reduce the gods, these very real objects of worship, to fictional characters. And here's the thing about fictional characters: they are fundamentally tools for authors to use to draw a desired emotional response from an audience.

Dracula's personality and behavior is wildly different depending on who is writing him, because different authors use Dracula to create different reactions in their audiences. In the 1931 film starring Bela Lugosi, he's equal parts alluring and disturbing, a symbol of America's mixed desire and disdain for foreigners. In Nosferatu, he's more strictly frightening and disgusting. In Francis Ford Coppola's movie, he's a tragic, romantic figure clinging to the last scraps of his humanity. In Netflix's Castlevania, he's an incredibly powerful being who has grown bitter and apathetic in his immortality. All of this is Dracula, and all of it is fine, because Dracula is not and never has been a central figure in anyone's religion.

Let's take a look at what happens when authors give this same treatment to real gods:

In Hellenic polytheism, Apollo is one of the most beloved gods, both historically and today. Apollo loves humanity, and humanity loves him back. He is the god of sunlight and of medicine, but also of poetry and song. He is one of humanity's most consistent defenders when one of the other gods gets wrathful. And while he does have dangerous or wrathful aspects of his own (he's also the god of disease, after all), he's also kind and soft with humanity in a way other gods often aren't, at least in some historic sources.

In the Lore Olympus comic series, Apollo is a villain. He's characterized as an abuser, a manipulator, and a violent man child. LO!Apollo is downright hateful, because the author wants us to hate him. Lore Olympus is a retelling of a myth about an abduction and forced marriage. Lore Olympus is also a romance. In order to get the audience to sympathize with Hades and root for his relationship with Persephone, Rachel Smythe needed to make someone else the villain. Apollo is the most obvious and extreme character assassination in Smythe's work, but several other gods (notably Demeter) also get the asshole makeover to tell the story Smythe wants to tell.

Here's where this becomes a problem: Hellenic polytheism is a fairly small religious community, while Lore Olympus is a massively popular webtoon with 1.3 billion views as of August 2023, print books available from major retailers, a TV adaptation in the works, and a very active online fandom. Rachel Smythe currently has a MUCH bigger platform than any Hellenic polytheism practitioner. Smythe and other authors are shaping how modern culture views the Hellenic gods, and that has a very real impact on their worshipers.

This means "Apollo is an abusive asshole" is becoming a popular take online, and is even creeping into pagan communities. I've personally seen people be harassed for worshiping Apollo because of it. I've seen new pagans and pagan-curious folks who totally misunderstand the roles Apollo, Hades, and Persephone play in the Hellenic pantheon because of Lore Olympus and other modern works of fiction.

There are tons of other examples of this in modern pop culture, but I'll just rattle off a few of the ones that annoy me most: Rick Riordan depicting Ares/Mars as a brutish asshole hyped up on toxic masculinity; Rick Riordan depicting Athena as a mother goddess; Marvel depicting Thor as a dumb jock; Marvel depicting Odin as a cold, uncaring father; DC depicting Ares as purely evil; whatever the fuck the Vikings TV show was trying to do with seidr; the list goes on.

All of these are examples of religious appropriation. Religious appropriation is when sacred symbols are taken out of their original religious context by outsiders, so that the original meaning is lost or changed. It requires a power imbalance -- the person taking the symbols is usually part of a dominant religious culture. In many cases, the person doing the appropriation has a much bigger platform than anyone who has the knowledge to correct them.

When Rick Rioridan or Rachel Smythe totally mischaracterizes a Greek god to tell a story, and then actual Hellenic pagans get harassed for worshiping that god, that's religious appropriation.

Religious appropriation is a real issue. This isn't just pagans being sensitive. To use an extreme example: Richard Wagner and other German Romantic authors in the 19th century used the Norse gods and other Germanic deities as symbols in their work, which was a major influence on Nazi philosophy. Without Wagner, the Nazis would not have latched onto the Norse gods as symbols of their white supremacist agenda. To this day, there are white supremacist groups who claim to worship our gods or who use our religious imagery in their hate movement. We are still reckoning with the misinterpretation of our gods popularized by Wagner and other German Romantics almost 200 years ago.

Again, no one is saying you can't enjoy fiction based on pagan mythology. But there are a few things you can do to help prevent religious appropriation in fandom spaces:

Above all else, be mindful that while this may just be a story to you, it is someone's religion.

Recognize that enjoying fiction based on our gods does not mean you know our gods. You know fictional characters with the same names as our gods, who may or may not be accurate to real-life worship.

Do not argue with or try to correct pagans when we talk about our experience of our gods.

Don't invalidate or belittle pagan worship. Again, this mostly comes down to recognizing that our religion is totally separate from your fandom. We aren't LARPing or playing pretend. Our sacred traditions are real and valid.

If you see other people in your fandom engaging in religious appropriation, point out what they are doing and why it isn't okay.

Please tag your fandom content appropriately on social media. Always tag the show, movie, book, etc. that a post is about in addition to other relevant tags. This allows pagans to block these fandom tags if we don't want to see them and prevents fandom content showing up in religious tags.

For example, if I'm posting about Athena from the Percy Jackson books, I would tag the post #athena #athenapjo #percyjackson #pjo. You get the idea.

And if fiction sparks your interest and you want to learn more about the actual worship of the gods, you can always ask! Most pagans love talking about our gods and trading book recs.

If you are writing fiction based on real mythology, talk to people who worship those gods. Ask them what a respectful portrayal would look like. If possible, include a note in your finished work reminding audiences that it is a work of fiction and not meant to accurately portray these gods.

[punkeropercyjackson]

The differences between Harry Potter and Percy Jackson in why Percy is a good character and his series' are good too while Harry is a bad character and his entire franchise is bad as a whole comes down to their life experiences.Nobody suspected Harry was a wizard so he didn't face discrimination,real or of the fantasy metaphor kind,and Rowling never wrote him as being a part of any oppressed group.But we are told in the very first page of Percy's story that he was a 'troubled kid' because he was always getting trouble for having adhd and undiagnosed autism-This one was not intentional on Rick's part but he fills out every autistic trait,both personality wise and how he's treated by the narrative and the other characters-no matter how hard he tried to be a 'good kid' and we're also told that this has been going on since he started kindergarten and dosen't stop in the following books either

Harry Potter was abused because of intrafamily history so he couldn't have cared less about changing the Wizarding World for the better.Percy Jackson was abused because he's a minority so he's been personally harmed by the broken systems and norms he lives in his whole life so he works hard to make it better for others like him-Both by fighting the corrupted people who run things AND being kind to and helping other minorities directly!!!-at the cost of his own eternal wish for normalcy.Harry's a cop,Percy's one of us

[gracexthoughts]

Okay, I have a lot of thoughts about the Percy Jackson show and the discourse I have been seeing about it. This is going to be long and possibly all over the place but I just want to share. If you disagree, that’s fine. Just don’t hate because you have a different opinion. Deal?

I want to start this by saying I am a new fan. I did not read the PJO books when I was a kid. I watched the first two episodes when they came out in Dec purely out of curiosity and was just immediately in love with the world. So in true ADHD hyperfixation fashion, I devoured Percy Jackson and the Olympians and Heroes of Olympus books and I am currently on Book 1 of Trials of Apollo. And maybe it's because I am a newer fan but a lot of the gripes I see about PJOTV just don’t make sense to me and I feel like they really are just rooted in nostalgia. Watching the show and all the interviews of the cast and crew, it is clear to me they wrote this season with the intention and hope that they would get to make all 5 seasons, and possibly even further. I can see how all the changes make sense when looking at the narrative as a whole. They are really setting up this world and this story in a way that I think lends more to the future of this narrative better than The Lighting Thief book does.

I also want to say I have yet to find a book to screen adaptation that is beat for beat accurate. So much of what works in novels, especially novels told in first person, just does not translate to third person screen adaptations. Ultimately, literature and film/TV are art forms and what works for one may not work for another and the creators are allowed to make changes, especially when it is for the overall good of the product.

To start, the exposition dumping didn’t really bother me that much although I agree it is there and noticeable. Now, I watched the first two episodes before reading the books but after reading the books, I think the exposition is just as noticeable in the books as it is in the show. Percy walks into this world without knowing or believing in any of it. In the book, he learns about this world through the people around him explaining it in dialogue. It is just condensed a little more in the show which makes it feel a little heavier. Nonetheless, fantasy tends to have a lot of exposition because there are a lot of things you as a reader/ viewer need to know at the start of the story. It is part of the nature of the genre, especially when it is intended for a younger audience. Exposition that seems clunky to an older viewer is probably not going to feel the same way to a younger audience member (which is the target audience).

The biggest complaint I see, and disagree with, is that the kids are “too smart which ruins the suspense.” Annabeth has been at camp since she was 7 and it is clear, both in the books and the show, she is determined to prove that she is strong and capable and intelligent. She has been training to go out on a quest since she was 7 years old. Annabeth would have been studying these monsters and these myths so of course she can figure out the traps. They aren’t that hard to figure out, even for someone who isn’t super knowledgeable about Greek mythology.

Grover’s job is a protector of demigods. It makes sense he knows these myths like the back of his hand. I imagine that after Thalia, Grover would have studied and worked so hard to prove he was ready for another chance. Grover in the books also fell a little flat in The Lighting Thief to me because it seemed like most of his personality was just to be scared and funny until later books. I love what they did with Grover in the show because he feels like an actual character with his own goals, intelligence, trauma and authority.

Now onto Percy… I have so many thoughts about Show Percy so bear with me.

While I was reading the books, I was confused as to why Sally didn’t teach Percy about Greek mythology. Book Sally seemed to just hope Percy being attacked by monsters and going to camp isn’t going to happen or just assumes that when it does happen, Percy will figure it out. Sally always knew what would happen to her son, at least to some extent, so why wouldn’t she do everything in her power to prepare her son for this life she knows is inevitable? I loved the addition of her teaching Percy about Greek Mythology and Ancient Greek because it makes so much sense because I never saw her as a just “sit back and wait” kind of character. Percy is her son, her baby, her miracle. She is terrified for him (which we see in EP 7 in the flashbacks) and, to me, it makes sense she would do everything in her mortal power to prepare him in a way that doesn’t scare him or reveal to him who he actually is. (It is also such a beautiful call back to Rick telling his son these stories as a kid, like I just think that is beautiful).

While on the subject of Ancient Greek, I saw someone complain how Percy doesn’t inherently know Ancient Greek in the Olympus scene in EP 8. “Poseidon and Zeus looked at each other. They had a quick, intense discussion in Ancient Greek. I only caught one word. Father.” - The Lightning Thief, page 343. This moment was literally pulled straight from the book! Percy talks about Annabeth tutoring him in Ancient Greek in the book (The Lighting Thief, page 107) and I loved how the show changed it to be his mom that taught him because of the previous reasons I gave above.

In general, Percy is an unreliable narrator. We see that in The Last Olympian when Rachel painted him defeating Antaeus. Percy is shocked at how he looks. We also see this in Heroes of Olympus where he is constantly talked about as this powerful and sometimes scary person whereas Percy never describes himself as anything other than kind of mediocre. Percy is constantly underestimating his intelligence and power in his POV because at his core he is still an insecure kid who was bullied and uses humor as a defense mechanism. But no matter what he thinks, he is smart and powerful and capable and I love that we get to see that in the show because it isn’t in first person.

In the books I was constantly frustrated that they weren’t seeing the traps. Aunty Em’s is so clearly out of place and weird and creepy but the Book Trio just ignores it? Also the Medusa story change was beautiful and needed and added so much depth to what was a very simple scene in the books. The Crusty’s scene was jarring at first, but in hindsight it didn't bother me either because Hermes told them about the entrance. Why wouldn’t he tell them about the trap too? The way Hermes is portrayed, I get the sense that he really wants Percy to succeed, in the books and show, and that he is holding onto hope that somehow, someway, he can still save his son. Why would he send them somewhere just to lead them into a trap that does not benefit Hermes in any way? (And us not seeing that conversation happen is showing and not telling BTW)

Also, the overall claim that Percy, Annabeth and Grover know everything is just… wrong. (@pareiwheeler made a post about this that really made me realize this so go read their post too: https://www.tumblr.com/pareiwheeler/740600563986808832/theres-know-mystery-or-suspense-they-know) They know the small things but the big things? They didn’t think Luke was the thief, they didn't know it was Kronos, they didn’t know they would lose the fourth pearl, they didn’t know the casino would mess with time, they didn’t know the shoes were a trap, etc etc. They walk into these situations thinking they are prepared, thinking they know everything they need to but they DON’T And that is where the suspense lies, in the overarching storyline that is the driving force of the plot. Not in these moment to moment scenes that are not the main conflict.

Now onto the smaller changes that, in my opinion, benefit the overall narrative of this story.

Missing the solstice deadline: Not only is Percy choosing to continue the quest despite missing the deadline such a great character moment for him but this ups the stakes so much!! Zeus and Poseidon are currently at war for the last two episodes of the show and even if they don’t talk about it much, that knowledge is still there in the characters' heads and in the viewers’. Every moment they take in the Underworld, you are watching with the knowledge that war is raging above. And it's a great way to show the kind of hero Percy is and what he will become. Percy doesn’t care he “failed” because he didn’t come all this way just to run back to camp with his tail tucked between his legs because that is not Percy. Percy sneaks out of camp twice to go on quests he was not invited on because he will not let someone’s rules get in his way while he is protecting people he cares about. Percy doesn’t want war to happen so with even the slightest chance he can stop Zeus and Poseidon, he takes it! Also the addition of Poseidon stepping in and saving Percy from Zeus was beautiful.

I also loved that Poseidon gave them 4 pearls instead of 3 because such a small detail shows how Poseidon cares about Percy and Sally. And, plot wise, it didn’t change anything. Percy still left the Underworld without his mom. But starting with 4 pearls gives them hope that they actually can complete the quest AND save Sally. Percy leaving the Underworld without Sally is so much more impactful in the show than the books because of this tiny detail change.

The fact that the pearls take them to the east coast rather than the west coast works well too. I loved that they returned to the cabin because of how important that cabin is not only to Percy and Sally but also to Poseidon.

Hermes being added to the Lotus Casino and bringing in Luke’s background earlier on was beautiful and Lin Manuel Miranda’s performance was one of the standouts for me. It is such a beautiful moment and you can see the anguish in Hermes at his feeling powerless and I think it sets up Percy learning about Luke’s family in The Last Olympian in a great way. This is one of those moments where you can tell the writers and showrunners are playing the long game with this series.

Last but not least, the change in the betrayal scene. I love it. I do. Not only in the changes in the way it happens but how they characterized Luke. Luke clearly does not want to hurt Percy, he wants Percy to help him and to come with Luke because he cares about him. The prophecy states “You shall be betrayed by one who calls you a friend” and Luke in the book didn’t really seem to care about Percy or view him as a friend at the end of it. But Show Luke? He cares about Percy and he is heartbroken that Percy doesn’t side with him. Also the addition of Annabeth hearing Luke’s betrayal first hand was brilliant, in my opinion. Not only were Walker, Charlie and Leah ACTING but it was so much more impactful that Annabeth sees Luke turn and chooses Percy in that moment. And I don’t think it will change much of Annabeth’s actions in the future because you can see how hurt she is and how desperately she still wants him to come back and be good.

Anyway, I think the show is brilliantly done. That isn’t to say it doesn’t have its faults but nothing is perfect and if you were expecting this show to be 100% perfect then I think you just set your expectations too high because that is not realistic.

If you made it to the end of this, I love you. The Percy Jackson brain rot is real and if we don’t get an S2 announcement soon I’m going to riot

[rayssion]

I'm torn because in a sense I'm tired of reading pjo, don't get me wrong like it's about time these kids had some rest, found some peace and lived their lives without the constant danger, I'm feeling tired for them feeling tense all the time, only waiting for worst to happen and it keeps on happening. I want it to stop, I want all of this to stop, these demigods to live, to just lead a normal life.

But on the other hand I'm not ready to leave them yet, I want Rick to write more so I can read more, so I can know more about them, so I can live with them. I want more books and I want more series.

At this point honestly, if Rick just wrote a whole series of the demigods just living their lives normally without anything ever happening to them, a boring life were you just follow a routine, I will fucking dig it up.

Why can't we just read about them without them being in constant danger?? Don't you guys feel bad for Percy? Boy spent years going on quests and doing missions, he deserves a real rest.

So this dilemma lead me to the idea of next generation/s, I'd like to read about something in the future of the same timeline/universe setup of pjo hoo toa, it could be their kids or their grandchildren, just imagine how lovely would it be?

It's like watching the legend of Korra after watching the last airbender lol, you'll see Katara and hear all of them talking about Aang and all of that, and you'll feel the nostalgia because you've been their, you lived with them.

Imagine percabeth's great grandchildren going to camps to train and learn and they hear all these stories about their ancestors and how they saved the world, imagine them accidentally stumbling across solangelo's great grandchildren and they befriend each other without knowing that their families go way back.

And then these kids will have their own adventures (they'll suffer now that they're our new squad lol) and how fun it'll be for us as readers if let's say, one time they go on a quest to retrieve something we're familiar with, like Riptide maybe? Idk.

And a huge bonus!! That they'll at some point seek the huntres and I know they'll spend the long nights hearing stories about the great demigods from Thalia and Reyna. They'll tell them every big and small story, even the time Percy arranged with Hermes for his and Annabeth's anniversary in exchange for looking for his staff. They'll tell them about the cocoa puffs and how Nico always slept with them, and I just know one of them will be determined to descend to the underworld to meet them (because Nico is now dead and in the underworld with Hades and his cocoa puffs and possibly Will).

And at some point they'll have to cross Boston for some reason and oh my god they'll meet Magnus and Alex and they'll stay at the Chase house for a while also hearing some stories from Magnus and shopping from Blitzen.

Rick this's my petition to have mercy on Percy and our lovely demigods and let them live in peace but please don't quit writing, I breath your books more than oxygen at this point<3

[ladykailitha]

Grief (A Friend Indeed) Part 9

Hello, everyone! We are almost to the end. I have all twelve parts completed and will be posting them every Thursday until the story is fully published.

So what's next? With Royal Pain being done as well, I'm going to try and finish Well Met By Moonlight and Find Your Shade By the Moonlight. I will be back working on the soulmate AU Batshit Soulmate and the next book in the Boy with a Bat series called Never Hold Back Your Step for a Moment. I'm also starting that omegaverse story I thought up here.

We meet Steve's family and find out more about why Steve's parents didn't like that side of the family much.

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8

****

Eddie and Steve wandered around town for a couple of hours, doing a little sightseeing, a little shopping, and a lot just being themselves for a moment or two.

Soon it was getting close to time and they headed to the diner. They pulled up and got a booth.

Eddie and Steve slid into one side and told the waitress that they were waiting for someone and to just grab them a couple of waters.

The waitress nodded and quickly came back with the waters.

They didn’t have to wait long before Percy came through the door, the little bell announcing his arrival.

Steve waved him over and he smiled in return, hurrying over to the table. Once he was settled he told the waitress they were waiting on one more but if they could get a pot of coffee and two cups please. Eddie and Steve both got sodas.

“Who are we waiting for?” Steve asked nervously.

Percy twisted the ring on his ring hand, looking down at the table. “A friend.”

Eddie and Steve shared a glance, wide-eyed.

Eddie wrote something down on a paper napkin and slid it over to Percy.

Percy took the napkin with frown and then he gasped. “Both of you?”

“Both for me,” Steve murmured.

“Just men for me,” Eddie added.

Percy glanced around the diner nervously, but no one was paying any attention to them at all.

“Oh.” He let out a shuddering breath. “Just him.” He pointed to someone walking up to the diner through the window.

He was a tall man, thin. Long black hair, braided to the small of his back. He wore a suit just as nice as Max’s in a beautiful silver color.

He came over when Percy waved at him. He slid next to Percy and looked Steve and Eddie over.

“Who are these boys, Percy?” he asked gravely.

“This my nephew, Steven and his friend...” Percy began.

Eddie stuck out his hand. “Eddie. Eddie Munson. We’re actually in Kentucky because of my own grandma’s funeral. Steve wanted to come visit his grandma’s grave so we took a drive.”

“Where you from?” Percy asked. “I catch a bit of twang to your voice.”

Eddie grinned. “Indiana mostly, but my family’s from Ashland.”

Percy smiled. “Nice town.”

Steve smiled. “It has been so far.”

“This is David Estevez,” Percy said, shyly. “The reason you’re parents haven’t spoken to me in over a decade.”

“Ah,” Steve said. “Yup, Clint Harrington is a lot of things, but tolerant isn’t one of them and of course my mom just went along with it. Even though it’s her money and her family.”

Eddie clicked his tongue against the back of his teeth. “Let’s see, not white, not from here, judging from the accent, and not straight... anything I missed?”

David burst out laughing. “Not the right kind of rich. I’m a self-made man. I worked hard to be where I am today and they hate that. I grew up poor in New Mexico and made my money building computers in my mom’s basement. Now, I’m a multi-millionaire CEO of a major tech company.”

“Dustin would love you,” Steve and Eddie said together.

“Who?” David asked with a chuckle.

“He’s this kid we know,” Eddie explained. “He built a CB tower just so he could talk to his girlfriend in Utah and not rack up his mom’s phone bill.”

“He sounds like fun,” Percy said, rolling his eyes.

David dug his fingers into Percy’s side, causing him to squirm and squeak. “As if you wouldn’t love it if I did that for you.”

Percy blushed. “Maybe.”

He cleared his throat. “How are your parents, Steven? I saw on the news that there was a horrible earthquake last March.”

Steve gulped and Eddie gave his hand a squeeze.

“I really wouldn’t know,” he mumbled, looking down at the table, tucking his hands between legs. “I haven’t seen them in a while.”

David and Percy shared a glance.

“They did come back after the earthquake, right?” Percy pressed. “To see if you were all right if nothing else.”

Steve shook his head. “They didn’t come home when I was caught in the mall fire, why would they come home for something as inconsequential as an earthquake?”

“Mall fire?” Percy asked.

“You remember, darling,” David said, “the one from last year where there were thirty people who died?”

Percy expression cleared as understanding dawned, and then it turned horrified. “They didn’t come home for that?”

Steve shook his head again. “They didn’t come home when I got a concussion so bad I was out for several hours, or anytime I got hurt.” He rubbed a scratch that was in the surface of the table mournfully.

“Mom follows Dad around to make sure he keeps it in his pants. Not that it deters him,” he explained. “I heard him bragging once about how it’s a game to him now to see what he can get away with.”

The waitress appeared with their drinks. “Are you guys ready to order?”

“I’m not hungry,” Steve murmured.

The rest of them ordered, with Eddie ordering a side of cheese fries in addition to his regular side of fries.

Once the waitress had gone, Percy leaned forward. “How long has this been going on?”

“The trips started when I fourteen or so,” he continued. “But the older I got, the longer the trips were, until they just stopped coming home sometime around Christmas of last year.”

“Stevie...” Eddie whined. “Why didn’t you say something?”

Steve shrugged. “I’m an adult. It’s not as though I’m a kid anymore.”

Percy took his hand in his. “No, Steven. That’s not how parenting works. Ever. They’re supposed to care about you enough to at least tell you were they’re going and when they’ll be home.”

Steve looked up and into his uncle’s eyes. “The money changed them. They haven’t been my parents in over a decade. I’ve just been this trophy they pulled out whenever it suited them. Had to be first in everything. I’m surprised they only let me get away three sports instead of making me try everything.”

Eddie looked stricken. “The sports weren’t your idea?”

Steve shook his head. “It was a way that they could legally pawn me off to other adults. Probably the reason for all the piano lessons and the tutoring. How I met Nancy by the way. Gotta have the best grades, until someone puts a plate through my head, then I was just as disappointing as they feared I would be.”

Everyone else at the table let out noises of distress.

“You never should have had to go through that,” David whispered fiercely. “Ever. I’m sorry your parents were awful.”

Steve shrugged. “It wasn’t all bad. I have had adults in my life that cared about me. The Chief of Police always kept an eye on me. Dad stopped hitting me after the second time Hop, Chief Hopper, I mean brought me home after...” he trailed off and looked anywhere but at the people in the booth with him.

He cleared his throat.

Their food arrived and that last sentence was left to dangling in the air like the sword of Damocles over their heads.

Percy watched as Eddie pushed the side of cheese fries between him and Steve, taking a bite periodically, but mostly focusing on the rest of his food.

Steve reached out and took one of the fries, chewing mindlessly. And then another and then another.

David smirked when Percy indicated to what Steve was doing.

Eddie pushed them in front of Steve and he just dug into them like a starving man. He took half of his burger and handed it to Steve, too.

Steve took the half with a blush. “Thanks, Eds,” he said softly.

Eddie just smiled fondly and finished his half of the burger.

David started talking to Percy to help fill the silence and soon the sense of dread dissipated as they fell into easy conversation.

Soon they were done and their plates taken away.

David lifted his chin to indicate to Steve. “Where did you learn that if you got cheese fries Steve would eat?”

Eddie and Steve glanced at each other and Steve blushed.

“Is that what he did?” he muttered.

Eddie laughed. “It’s trick I learned from his best friend. When he’s upset he won’t eat, even when he needs to, but if you put something like cheese fries or onion rings near him, he’ll graze until it kick starts his appetite again.”

Steve looked over at him in shock. “Holy shit, I never realized. Who else does that?”

Eddie smiled at him, that closed mouth, fond smile that he was got around Steve. “Dustin and Max mostly. But El and Will have been known to do it once or twice.”

Steve blinked.

“Sounds like you’ve got a lot of people that care about you, Steven,” Percy said with a grin.

Steve nodded, blushing. “Yeah, I guess I do.”

He looked at his watch and sighed. “How’s this,” he said, “why don’t you use that business card I gave you when you get home and David and me will come out to visit you for a few days?”

Steve lit up. “Yeah? You’d do that?”

Eddie grinned. Steve had just gotten his boyhood wish of having an uncle that cared and he could feel the joy and surprise radiating off his friend.

“I’d love to,” Percy said. “I would love to meet your family.”

Steve grinned. “You’ll love them.”

David smiled, too. “I’m sure we will.”

They got up and hugs were passed around everyone and they said their goodbyes.

“Goodbye Uncle Percy,” Steve said, his voice a little rough with emotion. “Bye, Uncle David. I’ll see you both soon.”

David looked happy and shocked at being called Uncle. Jasper’s daughter would never. But here was this nineteen year old boy whom his partner hadn’t spoken to in literal years being more caring and decent after a single afternoon with him, then Beatrice had her whole life.

So he did the only thing he could, he hugged Steve again, more fiercely this time. “Thank you.”

Steve nodded. He wasn’t sure exactly why David was so grateful, but he understood enough.

As Steve and Eddie walked away, Percy and David watched them get into their car.

“How long do you think it’ll take before those boys realize they’re in love with each other?” David asked.

“I don’t know Eddie very well,” Percy said, thoughtfully, “but I imagine they’ll figure it out before we come visit Hawkins.”

David hummed. If he was a betting man, he would have said the end of the week.

But he just had to wait and see.

****

Pt 10|Pt 11|Pt 12

Tag List: @spectrum-spectre @estrellami-1 @zerokrox-blog @artiststarme @swimmingbirdrunningrock @gregre369 @pyrohonk ​@a-little-unsteddie @chaosgremlinmunson @chaoticlovingdreamer @messrs-weasley @goodolefashionedloverboi @maya-custodios-dionach @val-from-lawrence @i-must-potato @danili666 @carlyv @rozzieroos @emly03 @wonderland-girl143-blog @justforthedead89 @bookworm0690 @itsall-taken @bookbinderbitch @redfreckledwolf @vecnuthy @littlewildflowerkitten @scheodingers-muppet @mira-jadeamethyst @cinnamon-mushroomabomination @gutterflower77 @genderless-spoon @hel-spawn @ellietheasexylibrarian @anne-bennett-cosplayer @mamafaithful @yikes-a-bee @dragonmama76 @flaming-reauxster

[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[burningvelvet]

At the bookstore today I saw this new Mary Shelley game. It may seem like a cash-grab but honestly I think Mary herself would LOVE this. Mary's father William Godwin owned a children's bookstore which sold games as well. When they weren't writing some of the most acclaimed 18th century philosophy, he and his first wife Mary Wollstonecraft also wrote some childrens literature, and both focused heavily on youth education in their belief system. Later, Mary and Percy Shelley (both inspired by her parents, whom they idolized) also worked on childrens stories together and bonded over their mutual love for children, games, education, and imaginative play all around.

The description reads thus: "Contained within these three volumes is a secret many have devated their entire lives to unearthing, and always in vain. It is a secret I would have taken with me to the grave, except that it is, in more ways than ane, our family's legacy, and thus rightfully belongs with you.

"You have just received 'The Shelley Volumes,' a collection of hollowed-out books left by Mary Shelley (author of Frankenstein) to her son, Florence. Inside you'll discover a trove of beautiful documents, 2D and 3D jigsaw puzzles, and other mysterious objects and artifacts. Solve Mary's puzzles and you'll be treated to a heartbreaking story that culminates in a shocking reimagining of the truth behind her famous novel."

From the website: "Mother of Frankenstein is a groundbreaking new game that combines the best of escape rooms, immersive theater, and prose fiction."

[your-turn-to-role]

so, was rewatching s1 of lovm, got to episode three again. and i'm thinking about percy's backstory. and also because of sylas briarwood, thinking about dalen's closet

and percy's got a real interesting relationship with the concept of drowning, huh

i mean first of all he's almost drowned (or actually drowned) three major times in the story. and all of those had similar themes, though different outcomes

so to explain what i mean, let's look at these in chronological order

1) the river. one of the worst days of his life, if not the actual worst. watching your entire family murdered, being locked up and tortured, your siblings bodies dumped in the cells next to you, just to rub it in. after weeks of this, you learn your youngest sister is alive, and she helps you escape, it's the first tiny bit of hope you've had. and then they kill her. you realise you're on your own all over again. you're hurt and you're lost and you don't know what to do, you run because you can't do anything else. and then you trip and before you know it you're in water and it's freezing and you can't breathe or move and you're so scared and so tired- and you don't remember much after that

when that fishing boat finds percy, he's basically in a fugue state, he has no idea what's going on and is barely responding to anything, his mind just couldn't take it anymore and left. and it doesn't get any better when he comes back to himself, because he survived, but for what. they're all gone. he couldn't do anything about it. he couldn't even save his sister like she saved him

and yes, they eventually save whitestone, and get cass back, but that experience stays with him

because then we get 2) duskmeadow.

percy's just learned that ripley bought up near industrial amounts of gunpowder, and he's terrified. he doesn't know what she's planning, but he knows what she will do with his weapons will change the world for the worse. it'll get countless people killed. and he made the decision to let her go, because at the time his personal revenge mattered more to him. he's feeling that "i survived for what" more than ever, because now not only did he survive when his family didn't, he didn't deserve to be the one that survived. none of the others would have caused destruction on this scale. he's not just alive for no reason, him being alive made things worse. (this is kinda explicitly his most suicidal point in the campaign, to the point of he literally wrote a goodbye letter that evening, and then just kept it on his person knowing vox machina would find it when his mistakes inevitably got him killed)

and so he goes to ask the raven queen for help. he's not yet reached the point where he's stopped trusting in gods (this meeting is about to be what sparks that), and he knows she's helped vax, so maybe she can help him, tell him how to fix this, he'll do anything

but there's only one way to talk to the raven queen. and that's to willingly let yourself drown in the communion pool.

and he tries, he tries so hard. he's putting every bit of trust he has in the raven queen right now, that this will be okay. but it's freezing and he can't breathe and he's so scared and so tired and all he can think about is how he survived and he shouldn't have, and then he has a panic attack. the only reason it eventually works is because he hits his head on the stone of the pool and then he's too confused and hurt to fight it

and when he finally talks to her, she tells him he can't fix it. that he was a broken person right from the start.

so far his two experiences with drowning have not only caused him lasting trauma around the whole experience, but continually affirmed that he's not only incapable of saving anyone he cares about, he actually makes the situation worse just by getting involved. and drowning honestly in itself makes a pretty good metaphor for how overwhelming and out of his control all of this is

but 3) dalen's closet. god, this was so good for percy and vex in so many ways, you can keep meta-ing about this episode for years. and in this case, sylas' attempt to murder vex and percy? chain them up and drop them from a cliff into the ocean

they're both drowning. there's no easy way out, and no one around who could rescue them

their attempts to free themselves, while clever, don't work

vex loses consciousness

it's just percy, alone, about to lose the person he loves most in the world, again. to a man who only knew vex even existed because percy got her involved

and percy doesn't panic

by all rights he should have, he's certainly got more than enough reason to. but he manages to stay calm enough to figure out a way to get his head above water, and to yell for help, because his fault or no he is not losing anyone else

and because of that, their friends can find them in time. he didn't get vex killed, he saved her

he's not helpless underwater anymore. and he's certainly not broken beyond repair. and it's only now that he's come far enough to realise that

[anonymousboxcar]

TTTE Headcanons: Engines’ TV Habits

This is pretty goofy, but I’m thinking about what sorts of TV the engines might watch if they had a TV or a streaming device in their sheds. Here’s what I’ve come up with so far!

—————————————

Henry loves nature shows, of course. In addition, after his fireman lamented his spilt hot cocoa, he wanted to understand why humans care so much about food. This led him to cooking shows, which he found very relaxing. He likes to watch raw, disparate ingredients become something beautiful and complete.

Edward goes for mysteries — lighter, cozier shows like Midsomer Murders, Rosemary & Thyme, and Murder, She Wrote. He’s also a fan of Granada Studios’ 1984 Sherlock Holmes. It tickles the same part of him that enjoys ghost stories, giving him a slight thrill alongside a pleasing mind-teaser.

Gordon watches the news every morning and evening. He likes to feel up-to-date on important events, expounding on them to his colleagues. Any program about opera and orchestral performances also appeals to him. There’s some snobbery involved, but he does enjoy hearing and learning about musical genres.

James likes game and talent shows, often shouting answers and opinions at the TV. He’s so attuned to these shows’ editing that he’ll guess a season winner, set up a betting pool, and rake in all the favors after the finale with a smug grin. (Gordon and Henry only keep placing bets because they want to show him up someday.)

All three big engines indulge in the guilty pleasure of soap operas. They think nobody else knows about this. Pip and Emma “obliviously” intrude on their watch parties to make them squirm.

Thomas and Percy watch ghost hunting shows together. They scoff at the idea of ghosts, accuse each other of being ‘fraidy-cats, and huddle close in fear as an episode progresses. They also watch late-night airings of schlocky films with Toby, whose sly commentary cracks them all up.

On his own, Thomas watches motorsport broadcasts. Bertie hooked him on it not long after they started racing each other. He’s a fan of some F1 drivers and their cars, often comparing notes with Bertie in serious (and sometimes heated) discussions.

Percy has a soft spot for period dramas. He’ll laugh at historical inaccuracies, get invested in all the characters, and ponder common tropes. He’s not afraid to ask about the servants who have to endure the wealthy protagonists’ dramatics.

Toby doesn’t watch much TV outside of what he sees with Thomas and Percy. However, he and Henrietta are partial to some late-night talk shows. If the show’s interviewing someone they’re interested in, or if they think the host is funny, they’ll give an episode a try.

Duck adores How It’s Made. It’s very satisfying for him to watch a bunch of moving parts at work, slotting pieces into their rightful places to assemble something. Other nights, he watches travel shows. They explore locations all around the world, scratching his itch to see what’s beyond his horizon.

Donald watches stand-up comedy specials, going for a good laugh at the end of the day to decompress. Ever since Duck “gifted” him Dilly, he also watches nature programs and shows about training/caring for pets. (He and Dilly are working on some tricks.)

Oliver picks sci-fi shows, with Star Trek and Doctor Who as his favorites. He’s drawn in by the pulpy adventures, moral dilemmas, and complex protagonists. It all makes him feel better about himself: you can mess up on an astronomical scale, but still be capable of good things. You don’t have to be a perfect hero to be a good person.

Douglas enjoys shows about antiques and vintage items — things in the vein of Antique Roadshow, or American Pickers. He’s a sucker for knickknacks that meant something to someone, for all the stories behind each one, and for their loving restorations.

Bill and Ben think fitness shows are hysterical. They’re forever amused by the odd ways the instructors contort their bodies. But they also scheme for their crews to watch these shows, hoping they’ll participate and stay healthy for years to come.

Daisy’ll watch any program about fashion or body art (tattoos, piercings, etc). Being so attentive to her swerves, she’s curious about the ways that humans adorn themselves. She’ll sometimes take inspiration from what she sees, but she’ll always argue that fashion is an art form, pointing to these shows for examples.

——————————————

What are your guys’ thoughts/headcanons? I’d love to hear them!

[hermesmyplatonicbeloved]

Annabeth stans - Do Not Interact. This post is not for you. Keep Scrolling.

The Annabeth apologism is real guys. People really be like "Annabeth has the most tragic backstory in PJO!" And forget about nearly every single other character in PJO and HoO

I'm sorry did you forget about:

Tyson: homeless at 7-8 years old, and bullied/terrorized by everyone in his life aside from Percy and Sally

Hazel: literally died to right her mother's wrongs at 13 years old. Not to mention how her mother treated her, and her curse. There's more but I forget it.

Nico: lost his sister at either 10 or 11(?), was stuck in the lotus casino for decades, was homeless and manipulated by a ghost for months, abandoned by his father - only for his father to start acknowledging him by manipulating him to give up the 1 person who cared about Nico to him on a silver platter

Luke: his mother was cursed and used to terrify him with her oracle episodes. he ran away young and was living homeless or in shelters for years.

Thalia: lost her little brother pretty young, also lost her mother to drunk driving, was living homeless or in shelters for years, died to protect a 6 year old and 14 year old at 12 years old, was resurrected at 16 years old within months had a great prophecy almost forced on her

Percy: lived with a man that threatened to "knock his lights out," (aka. severe physical abuse), humiliated him bc of his learning disabilities, the same guy also abused his mom physically emotionally and financially to the point where she thought her only option was to kill him

Jason: was given to a goddess at like 3 years old, was forced to live with terrifying wolves at 3 years old (he thought they would kill them) and then was forced to become a child soldier after that (starting at age 3-5 years old) and never got to live his own life before he was killed at 15-16 years old. Not to mention his mother is dead, and his sister a stranger.

I don't remember Leo's story, but didn't his powers accidentally overwhelm him and kill his entire foster family? Didn't Gaea torment him for years?

Like. Annabeth eavesdropped (aka listen to a convo she has no context on) a convo where her dad was struggling to tell his wife how he had Annabeth (how tf is he suppose to explain her showing up in a golden cradle after not having sex with Annabeth's mother without sounding insane), was bitten by regular spiders for 3ish days and then chose to ran away before her dad got home - her dad who'd actually know the problem and what to do, spent a few days away from home by choice, 2 weeks or so on the run with two powerful demigods protecting her, and then she got to camp where Chiron could parent her. Everytime she wrote to Frederick he replied immediately telling her that he loved her, he was sorry for failing her and he welcomed her back home. And when she couldn't keep up with the monsters? He built a machine gun with celestial bronze bullets and loaded it onto a helicopter to protect her.

And somehow Annabeth has the worst backstory. She actually has a home to return to. A mortal parent, who isn't the best but still tries and tells her he loves her. Half the other demigods/beings on this list don't even have that.

Also, this is a rant about Annabeth stans, not a debate, not Annabeth Chase hate. It's a commentary about how annoying her fans are. If you respond with anger and insults you will be blocked immediately.

[pendragonsclotpole]

i’ve been keeping up with dominic noble’s lost in adaptation series for pjo, and i just finished watching his review of episode 8. he made a point of saying that he didn’t consider the tv series an offense to the book, and i’m glad he did because i think a lot of show fans hear the criticism that some books fans have of the show and misunderstand why we’re so upset.

i think the tv series is a good, decent adaptation that attempts to appeal to a younger audience/an audience as young as the book series first readers when it was published. it modernizes a few things (shoutout to that completely unnecessary scene of sally listening to olivia rodrigo), expands on a bit of the central characters, updates the relationships the gods have with their children, and keeps the spirit of the original series, if not always the execution.

i think if the tv show had come out in 50+ years, long after a book accurate and beloved adaptation had come out, the show would be a fresh take on a classic children’s story a la lotr. but the issue is that the last adaptation came out close to 15 years ago and while it was good and entertaining for a blockbuster movie, it wasn’t percy jackson.

it wasn’t the story we got to see and get to know: a complex tale of parental neglect, greek gods and mythology, and most importantly—a young, misunderstood boy trying to navigate the complexities that arose from the circumstances and consequences of multiple sets of beings, far more powerful and older than him, trying to control him and take away his agency, all because of the circumstances of his birth, which were not his fault and which he didn’t ask for. sure there was magic, sure there a suspension of disbelief, but at the heart of the story there was enough darkness and realness for the story of the book to mean something.

we spent years listening to rick riordan promise us that he would find a place to create a faithful adaptation of the book. but he didn’t. and that’s okay, because at the heart of it all, he wrote pjo to appeal to a set of kids younger than i am now and closer to the age i was when i first met percy jackson. i understand the dozens of fans that love the show, even the book fans that enjoy it as an adaptation, but to me, the girl who admired the brutality of sally jackson turning the man who abused her to stone, who loved the emotional complexity of a dad who could never quite say the right thing to his own child and always left them feeling so disappointed and like a mistake and alone, who never quite fit in with the other kids and felt unwanted, who wished she had some sort of powers and the capacity to rebel against the forces older and more powerful that controlled her, i just can’t love the show as much as i love the books.

i know what i just wrote sounds weird. no, i don’t want to essentially kill and turn any men that may harm or abuse me to stone (tho people if you get the chance, godspeed). but i do love the idea that sally when given the choice, had the power to petrify a man who likely petrified her. she made her choice to get rid of him. she made a choice many women or victims of abuse in general don’t often get a chance to make, and it was presented in such an unrealistic way, in the guise of a medusa’s head, that it felt even more real. i love that a man that is meant to be from an idolized and integral part of your mother’s past, who in many ways is a god, can be a horrible father and partner, and say the wrong things and never be enough. i love the idea that we can all be tempted by the wrong things but eventually make the right choice and be the hero we needed all along.

i think i’ve rambled long enough, and i hope you all can understand what i mean. obviously some of the points i mentioned have yet to be adapted. i hope the show gets to bring to life all 5 books and potentially even beyond. i think the tv show is good, funny, entertaining, a little slow at times, and not enough action or tension. i love leah, walker, and aryan as annabeth, percy, and grover. i think the designs are beautiful. i think it is a good adaptation and i think with a rewatch it’ll grow on me, but it just isn’t the percy jackson i grew up with. maybe that’s on me. maybe i’ve grown up idolizing a book series and appreciating what it meant to me, instead of reading it and appreciating it for what it is: a children’s series. maybe the tv show and book series are mediums meant for other kids and new audiences to enjoy. in which case, enjoy them. i’ll still watch along to see some iteration of the books i love be brought to life, and to appreciate a good show but a part of my heart will always yearn for a faithful book adaptation.