Caligula bringing the spear down but Jason grabs it before either of them can blink.
Jason who sees red and what comes out isn't just Camp Jupiter's former Praetor.
But Lupa's pup.
Jason twirls the spear in his hand, using it to deflect the arrows before and dropping it.
He has no use for it anymore.
He's on all fours and ripping Caligula a new one. Because how dare you almost kill my friends?!
Because Piper's found her person.
Because Lester thinks of him as family.
Because... Because Jason has the life he wanted. He can go to school, he can be himself and not be punished for it.
He has something worth fighting for and he'll be damned if some crusty dusty ex emperor takes that away from him.
He's lost everything multiple times.
... Not again.
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i think grover pointing out to percy that annabeth's yankee's cap is the only thing she has of her godly parent makes percy realize how important it is for demigods to have symbols of their parents with them. and i would really love to see it all come full circle when percy battles with ares later on in season one, and after he wins, he demands that ares leave them alone so they can return the bolt and that he gives clarisse another spear to make up for the one he broke. which would be an amazing way to set up percy and clarisse's 'i have a lot of respect for you/you're an annoying bitch that i tolerate/if anyone messes with you, i'll cut them' trope for later seasons.
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Siblings Behavior
It's shenanigans time guys
So have this DpxDc idea.
So, the Justice League and the Light (OR villains in general) have two newish members, they've both been around for about a year and they're from the same plane of existence (a place called the Infinite Realms according to those who dabble in the occult)
And the two seem to have some serious beef with each other.
Wisp and Wrath are basicly feral cats hissing and hekles raised when they spot the other and their fights normally ends in draws. They're evenly matched and sometimes the two even fight to the point they are out of steam and just fist fight.
Needless to say everyone believes they totally hate each other and might one day kill (or end?) One of them.
So everything gets turned upside down when suddenly both factions of heros and villains are suddenly summoned to the Infinite Realms.
In a throne room.
In front of the Infinite King (or most commonly known as the Ghost King)
A King who looks very, very much like Wisp and Wrath (like yeah the two do sometimes look alike, like when they grin with sharp teeth and their hair color, but one has blue skin and red eyes for crying out loud!)
He's staring at them, glowing green eyes that seemed to just... know.
"Welcome to the Infinite Realms. I am King Phantom." His voice echoing in the throne room and seemed to rattle them deeply, like a sudden chill in the early morning.
"I have summoned you all here for a single reason." He continued to say "Tell me..."
Here he paused, closed his eyes before leaning back on the chair then he smiled big and cheerfully asked.
"How are my kids doing in your world? Dan and Ellie aren't causing too much chaos in their wake are they? They tend to go a tiny bit overboard sometimes but what siblings don't when they rough house you know. Tell me everything."
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I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!
Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.
And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.
Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.
So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.
And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.
And, Jon, in turn, holds out hope that she might make better choices until the very end.
This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.
When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.
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